The world of space of Armat Bektas is mostly linear, at the subconscious level he structures everything according to the principle of harmonizing reality of the surrounding world which is “nonlinear” that is to say unharmonized by consciousness.

The artist is absorbed by the idea of creating a new philosophy of the Great Steppe in art and creating another plastic language of expression in it. The idea was born on the basis of the study of Kazakh art, the work of P. Picasso, P. Klee and other masters of the avant-garde world.

Relying on all the artistic heritage of mankind and gazing intently at his own classical folk Kazakh art, Armat Bektas builds his “steppe philosophy”, the philosophy of linearity of its structure, which is dictated by a complex of reasons, including the space of the steppe itself. The steppe landscape is primarily flat and majestic, with rounded chains of hills and the shape of yurt along with the legacy of cult architecture blending seamlessly into them are the genetic codes of the environment. The artist interprets these phenomena in search of a new stylistic expression of his thought.

In the works of the master, there is almost meditative flexibility in the smoothness of flowing lines of movement of forms interpenetrating or intersecting from one direction to another but always striving for stability and inner integrity.

As a person who has long been looking for the foundations of spirituality in the modern globalized space, Armat Bektas takes seriously the idea of Jacques Attali (the French economist, banker, writer and politician, who describes the future as a nomadic world) about tolerance in matters of faith and religion. Bektas in his work tries to visualize the theory of Jacques Attali through the pictorial language.

He seeks to create an image of a single divine spirit, because he is convinced: God is one; he seeks to express the idea of a new synthesis of everything divine in the mind of humankind, but he perfectly understands that this is one of the most delicate strings of his soul and can in no way be imposed let alone infringed upon anyone’s interests.

By inventing a new language of expression, a new style in art; A. Bektas is not afraid to combine symbols of different confessional affiliation; since they were “born” from a once single source. Universal symbols and signs are the basis of all religious symbols, and their vertical structure is another return at a new stage and level of development to the once lost unity.

The predominantly vertical development of the elements of the cosmic structure of our universe is taken by the artist from the past cultural experience of mankind: the entire past history of its development sought to build the harmony of this world from the depths of the universe, the information field of which relied on the “divine vertical”.

I seriously thought about these questions – demand of time, and energy along with potential are given to the artist for realisation of creative programmes originally bestowed by nature, and of course, the author’s personal position in the modern art world is mandatory“.  Bektas believes that the time has come for a mind reboot, for a deep understanding of realities of our time and our own contribution to the general world art history.

To create a new style in art, the artist works at the Sal Seri Gallery, which is located in Nur-Sultan city, Kazakhstan.

A creative group of like-minded people was created to promote this idea including Nurai Medeuova, Arystan Smagulov and Armat Bektas. To implement its projects, the Sal Seri Gallery collaborates with the Eurasian Creative Guild, under the leadership of Marat Akhmedjanov, who organizes events dedicated to the development of art among young artists and writers in different countries.

Sal Seri Gallery expresses its deep gratitude to the Eurasian Creative Guild and looks forward to further fruitful cooperation!

Khalima Truspekova, 

(an Art History PhD, Docent, Associate Professor at KazLAACE)

Asya Tsurkina,

(an Art-Manager of Sal Seri Art Gallery)