Gulnur Mukazhanova's Felt-Making as Philosophy: An Exploration of Existence and Memory
Kazakh artist Gulnur Mukazhanova's latest exhibition, "Dowry of the Soul," is a deeply personal and philosophical exploration of existence, memory, and the human experience. The show brings together over 100 works by Mukazhanova, spanning multiple floors of the former thread-spinning factory turned museum.
At its core, Mukazhanova's felt-making is not just a technical skill, but a way of life that seeks to disappear itself in the present moment. "On a technical level," she says, "until your eyes no longer need to work. Your heart does." This desire for transcendence and connection with the present is reflected in her use of traditional Kazakh textiles, which carry rich histories and memories.
Mukazhanova's work often responds to the tension between the rapidly globalized world and traditional ways of life. Her use of the dowry as a metaphor contains both hope and dislocation, reflecting the complexities of modern identity and cultural heritage. The exhibition features a range of works, including giant felt canvases, intricate textile sculptures, and installations that explore the relationship between memory, ritual, and the ancestral realm.
One of the most striking aspects of Mukazhanova's work is its use of color and texture. Her fabrics are imbued with a deep sense of emotion and meaning, from the vibrant hues of traditional Kazakh textiles to the muted tones of her felt canvases. The intricate patterns and motifs that adorn her works evoke a sense of storytelling and narrative, drawing the viewer into a world of myth and legend.
Throughout the exhibition, Mukazhanova's hand can be seen in every stitch, every fold, and every layering of fabric. Her process is meditative and labor-intensive, requiring great patience and attention to detail. This is reflected in her use of dressmaker pins to hold together the intricate installations, which reveal the tiny wounds that bind them together.
For Mukazhanova, felt-making is not just a creative pursuit, but a spiritual practice that seeks to connect us with our ancestors and the natural world. As she says, "The direction of the fibers follows my bodily movement, leaving visible traces of gesture and effort." This emphasis on physicality and embodiment reflects her interest in exploring the boundaries between human and non-human, self and other.
As we navigate the vast and labyrinthine exhibition space, Mukazhanova's works seem to envelop us, drawing us into a world of myth and memory. Her felt skins, like those that cover her own body, evoke a sense of vulnerability and intimacy, while her abstract painterly worlds invite us to explore the hidden territories of the imagination.
Ultimately, Mukazhanova's exhibition is not just about art or aesthetics; it is about something more fundamental: the human condition. As she says, "Death is a dislocation that withstands chronology." In this sense, her felt-making can be seen as a form of resistance to the fragmentation and disconnection that characterize modern life.
As we leave the exhibition space, Mukazhanova's works seem to linger in our minds, like the gentle rustle of fabric or the whispered promise of a long-forgotten myth. They remind us of the power of art to connect us with our past, present, and future selves, and to transcend the boundaries that separate us from the world around us.
"Dowry of the Soul" is on view at CHAT through March 1, 2026.
Kazakh artist Gulnur Mukazhanova's latest exhibition, "Dowry of the Soul," is a deeply personal and philosophical exploration of existence, memory, and the human experience. The show brings together over 100 works by Mukazhanova, spanning multiple floors of the former thread-spinning factory turned museum.
At its core, Mukazhanova's felt-making is not just a technical skill, but a way of life that seeks to disappear itself in the present moment. "On a technical level," she says, "until your eyes no longer need to work. Your heart does." This desire for transcendence and connection with the present is reflected in her use of traditional Kazakh textiles, which carry rich histories and memories.
Mukazhanova's work often responds to the tension between the rapidly globalized world and traditional ways of life. Her use of the dowry as a metaphor contains both hope and dislocation, reflecting the complexities of modern identity and cultural heritage. The exhibition features a range of works, including giant felt canvases, intricate textile sculptures, and installations that explore the relationship between memory, ritual, and the ancestral realm.
One of the most striking aspects of Mukazhanova's work is its use of color and texture. Her fabrics are imbued with a deep sense of emotion and meaning, from the vibrant hues of traditional Kazakh textiles to the muted tones of her felt canvases. The intricate patterns and motifs that adorn her works evoke a sense of storytelling and narrative, drawing the viewer into a world of myth and legend.
Throughout the exhibition, Mukazhanova's hand can be seen in every stitch, every fold, and every layering of fabric. Her process is meditative and labor-intensive, requiring great patience and attention to detail. This is reflected in her use of dressmaker pins to hold together the intricate installations, which reveal the tiny wounds that bind them together.
For Mukazhanova, felt-making is not just a creative pursuit, but a spiritual practice that seeks to connect us with our ancestors and the natural world. As she says, "The direction of the fibers follows my bodily movement, leaving visible traces of gesture and effort." This emphasis on physicality and embodiment reflects her interest in exploring the boundaries between human and non-human, self and other.
As we navigate the vast and labyrinthine exhibition space, Mukazhanova's works seem to envelop us, drawing us into a world of myth and memory. Her felt skins, like those that cover her own body, evoke a sense of vulnerability and intimacy, while her abstract painterly worlds invite us to explore the hidden territories of the imagination.
Ultimately, Mukazhanova's exhibition is not just about art or aesthetics; it is about something more fundamental: the human condition. As she says, "Death is a dislocation that withstands chronology." In this sense, her felt-making can be seen as a form of resistance to the fragmentation and disconnection that characterize modern life.
As we leave the exhibition space, Mukazhanova's works seem to linger in our minds, like the gentle rustle of fabric or the whispered promise of a long-forgotten myth. They remind us of the power of art to connect us with our past, present, and future selves, and to transcend the boundaries that separate us from the world around us.
"Dowry of the Soul" is on view at CHAT through March 1, 2026.
It's like, you can really feel the love and care that Gulnur Mukazhanova puts into her work. The way she combines traditional Kazakh textiles with modern art is just genius 
And I mean, who else can make felt-making look so philosophical? 
Her use of color and texture is stunning - it's like you're walking into a world of myth and legend 
And I think that's so relatable, you know? We're all just trying to find our place in the world.
Get yourself to CHAT ASAP!
! I mean, can you imagine creating something that disappears itself in the present moment? It's like she's tapping into this higher state of being, where art and life blend together seamlessly 
. And have you seen her use of color and texture? It's like a whole different world! The way she uses traditional Kazakh textiles to tell stories and evoke emotions is so beautiful 
. But what I love most about this exhibition is how it makes me think about my own connection to the past, present, and future. It's like she's inviting us to slow down and listen to our own heartbeat 
. If you haven't checked it out yet, do yourself a favor and get there ASAP! 
I just got back from this exhibition and it was like being transported into a different world. Gulnur Mukazhanova's use of felt-making as a way to connect with her heritage and the natural world really resonated with me. The way she weaves together traditional Kazakh textiles with modern installations is pure genius 
it's like she's tapping into this ancient wisdom that speaks to our very soul. I love how her felt-making process is so meditative and labor-intensive – it's like a form of spiritual practice, you know? She's not just creating art, she's conjuring up these emotions and memories that transport us to another world.
, and I'm still reeling from the breathtaking views of the Grand Prismatic Spring 
. Have you ever seen anything like it? It's like nature's own work of art, you know? And speaking of art, have you tried that new coffee shop downtown? Their cold brew is insane 
️...
. It's like she's using some sort of subtle mind control to get us to feel something real deep in our souls. And what about that phrase "death is a dislocation that withstands chronology"? Sounds like some sorta metaphor for how they're really controlling our perception of time 
...
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but what really gets me is how mukazhanova uses her craft to explore existential crises and cultural identity. it's like she's taking these traditional kazakh textiles and turning them into a reflection of our modern struggles 
anyone else going to check out this exhibit?
she's been trending on Instagram for weeks now! 
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that's way longer than the average art museum visit 
. The top three emotions visitors report experiencing? Emotional connection, wonder, and nostalgia 
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it's clear Mukazhanova's work is tapping into something deep and meaningful. Her use of color is also noteworthy - the top three colors associated with her work are blue, green, and purple... 
. It's not just art; it's an experience.
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i loved how she incorporated the dowry as a metaphor for modern identity and cultural heritage - so thought-provoking 
it's like she's trying to connect us with our ancestors and the earth itself 
. I also appreciate how her work reflects on the tension between tradition and modernity – it's a really timely commentary 
. Her fabrics seem to come alive, and you can almost feel the textures of the different materials