Aliya Yessylbayeva is not only a gifted artist but also a person with a big heart and an insatiable desire to share her creativity and knowledge. She is distinguished by her remarkable empathy, ability to inspire others, and belief in the potential of every individual. In this interview, we will talk about her journey, the source of her inspiration, and how these qualities help her in her work and with her students, as well as her plans for the future.
Aliya, could you tell us how your journey in art began? At what point did you realise that painting would become more than just a hobby, but a professional vocation?
My interest in painting began in early childhood. I was fascinated by how my friend created paintings using professional materials. Her paints and paper seemed like magic to me. I dreamed of painting as beautifully and vividly as she did. At home, I tried to replicate her work using ordinary pencils, but of course, the result was far from ideal.
I often walked my friend to art school, where paintings hung in the hall, which I admired. The school director, noticing my enthusiasm, invited me to take an entrance exam. I eagerly awaited this day and, despite the large competition, successfully passed the test. At the exam, we were asked to make sketches and draw flowers. I chose lilies, and, to my surprise, the director said that he was waiting for me to attend classes. That’s how my journey in art school began.
During my final years, I was asked to substitute for teachers in a senior group of over twenty adult students. Being quite young myself, I felt somewhat apprehensive, wondering how I could possibly teach people who seemed so much older than me.
At the first lesson, I tried my best to explain the material as clearly as possible, giving attention to each student. Despite the fact that there were fifteen people in the group, which seemed like an impossible task to me, I managed to assist everyone. To my surprise, the students were very pleased.
After that, I was often invited to substitute for teachers, and it was then that I experienced the genuine pleasure of working with students of different ages. This feeling has stayed with me to this day. For many years now, I have been working in my own studio, teaching both children and adults, and this brings me immense joy. I come to work with happiness and anticipation.
Which artists or artistic movements have influenced your style?
Undoubtedly, Ivan Shishkin has had a tremendous influence on my style. His works amaze with their realism and meticulous attention to detail. It seems as though his landscapes come to life on the canvas. From childhood, I have been fascinated by his ability to convey the beauty of nature in such detail – the texture of trees, grass, and animal fur. I have always strived for the same level of skill and detail in my own work. Therefore, it is certainly fair to say that Shishkin’s style has significantly influenced me.
What inspires you to create new works? Do you have any special rituals before starting to paint?
As for inspiration, I try to approach my work with mindfulness. I can work every day, but I have a strict rule: if I feel I’m in a bad mood or feeling sad, I postpone my work. I believe that an artist’s emotions are conveyed through the painting, and I don’t want to transmit negativity to the viewer. Therefore, I try to paint only when I feel harmonious and in a positive mood.
Why did you choose oil painting as your preferred medium? Have you experimented with other techniques?
This preference developed in my childhood, when I first saw the works of famous artists painted in oils. At that time, it seemed to me that oil was the ideal medium, capable of conveying all the beauty and depth of the image.
Over time, I learned about the variety of art materials, but oil remains the closest and most beloved to me. Its rich texture, saturated colours, and the ability to create multi-layered effects allow me to express my creative ideas most fully. Oil is not just paint, it is a part of my soul, and I feel a deep connection with this medium.
What themes are most often reflected in your work?
In my work, I most often turn to landscape painting. Working on a landscape allows me to completely immerse myself in the picture, to feel harmony and peace. I strive to convey not only the visual image, but also the mood, the atmosphere that I feel.
I am inspired by the variety of natural states: whether it is a sunny day after cloudy weather or a bright starry night. I try to capture these fleeting moments on canvas, to convey my state of mind and my perception of the surrounding world. For me, it is not just painting, it is a way to express something more that is beyond words.
Do you have a favourite painting among those you've created? What makes it special?
My favourite painting is “Pine Forest”. As I have already mentioned, the work of Ivan Shishkin had a huge impact on me, especially his paintings “Pine Forest” and “Morning in a Pine Forest”. Inspired by his works, I began to study the technique of painting a pine forest, and it became something special for me.
Even my thesis at university was dedicated to this topic. It was painted in the style of “Pine Forest” and is now in the museum of the National Park. It seems to me that painting pine forests comes especially easily to me, I feel a deep connection with this theme. Perhaps this is due to the fact that I studied a lot of Shishkin’s work and his approach to depicting nature. So, “Pine Forest” is not just my favourite painting, it is a part of my creative history.
Could you tell us about the idea behind opening your own studio? What was the most challenging aspect of setting it up?
I used to work at an art school, and I was invited to work in another city. However, due to some family circumstances, I had to move there with my children. I arrived at the end of May, but I could only start working from September. And I needed to find a way to feed my children.
So I simply picked up a newspaper and started looking for options. I wasn’t even thinking about having my own studio at the time. First, I was just looking for a job, but I couldn’t find anything suitable. And then I came across an advertisement: “Space for rent for a studio”. Despite the fact that I had very little money, I decided to take a chance. And that’s how it all started. And now, I’ve been working in my own studio for 15 years.
Of course, opening a studio was associated with certain difficulties, especially in terms of paperwork. I always loved creativity more than paperwork. But, as it turned out, you can learn everything. I had to become an accountant to pay taxes, and a director, and even a maintenance worker. In other words, I had to combine many roles.
In addition to that, I also had to learn how to work with students of different ages. It turned out that working with children is much easier than with adults. Adults require more attention, they are more meticulous about everything. They need to be given maximum attention. Children, on the other hand, immediately immerse themselves in the process of drawing and dissolve into the painting. They only ask for help when something doesn’t work out for them. Otherwise, they try to independently express their thoughts and ideas. And sometimes they create such interesting works that even adults cannot do, because they still have this childlike fantasy.
However, the biggest challenge was interacting with adult students. It turned out that they require more attention and are more demanding in details than children. Children, as a rule, quickly immerse themselves in the process of drawing and give free rein to their imagination, creating amazing works. Adults, on the other hand, often need support and guidance to unlock their creative potential. I realised that working with adults requires a special approach and patience.
What is your main teaching philosophy? What key skill or value do you strive to impart to your students?
For me, the primary goal is to unlock each child’s communicative abilities. Seeing how some children, immersed in their inner world, struggle to communicate, I strive to help them gain confidence and the ability to interact with others. It is important not only to develop their creative potential, but also to teach them to freely express their thoughts and feelings.
An equally important aspect is creating a friendly and warm atmosphere in the studio. In today’s world, where parents are often consumed by work and digital devices, children especially need attention and care. Therefore, I try to greet and say goodbye to each child with a hug, creating a sense of comfort and acceptance. At first, some children may feel awkward, but over time they get used to it and begin to reciprocate.
I strive to ensure that our studio has an atmosphere of goodwill and mutual understanding, where each child can relax not only physically, but also mentally. After all, creativity is not only meditation, but also communication with like-minded people. And our emotional state and inspiration largely depend on who surrounds us.
Have you encountered students who believed they lacked talent? How do you help them believe in themselves?
Unfortunately, many children come to me not believing in their own abilities. They doubt their talents, even though every child possesses a unique gift. This gift may manifest not only in art, but also in other areas. Children are amazing in their creativity and originality, but often they are constrained by insecurity and fear.
Many children arrive for their lessons not in the best mood – from home or from school. Some children are simply like that by nature. And I try to suggest that they start by painting with bright colours. Why? Because bright colours can truly lift your spirits. And when a child succeeds easily, and with bright colours, they leave feeling inspired.
We try to help everyone overcome these complexes. Our task is to show each child that they are capable of much. We sincerely praise their work, emphasise their achievements, and say: “You’re great! Look how well you’re doing!” These words of support help children believe in themselves and unlock their potential.
Besides, adults often don’t know how to be alone with themselves and truly relax. And when they start painting for the first time, they say what a pleasure it is, how rested they feel, and what emotions they experienced. I especially remember one case with a man. At first, I was a little confused, because he was a grown, respectable man. I wondered how I would teach him?
But you know, he rejoiced like a child! And this state of his, probably, was transmitted to me. I went home so happy afterwards. It seemed to me that I had given a person a good mood today. He came in gloomy and doubtful, and left so inspired! He was in a group with children and forgot about his age, enthusiastically painting for hours on end.
And you know, now he regularly attends our classes. Of course, he couldn’t paint before. But it was his dream. And now he is creating paintings for sale. I am very happy for him that he found himself, even in retirement. He, a former diplomat, a high-ranking person, always dreamed of creativity. And now, having made a career, he was finally able to devote himself to what he always loved.
This example makes me very happy. He often comes to me for advice, shows me his sketches, and asks how best to do this or that. And it turns out that working with people of different ages is incredibly interesting.
What role have international exhibitions played in your career? How does the perception of art differ in Kazakhstan and abroad?
The international exhibition in London was a completely new and exciting experience for me. For the first time, I saw a different attitude towards art, how highly creativity is valued. In London, I felt an incredible energy from communicating with people who sincerely love art. This gave me strength and confidence that my work is not in vain.
Although there are also art connoisseurs in Kazakhstan, unfortunately, there are not so many of them. People are often in a hurry and don’t always have time to contemplate beauty. In London, however, I saw people coming to the exhibition to enjoy the works and express their admiration. This atmosphere of happiness and inspiration that I felt there became an invaluable experience for me.
After this exhibition, I felt a great desire to participate in such events. I realised that this not only brings me an emotional charge, but also contributes to my professional growth. I am sincerely grateful to Golden Time Talent for providing the opportunity to participate in the competition, win, and present my work at the international level.
I was amazed by the variety of techniques and styles presented at the exhibition. I learned a lot and gained a lot for myself. And now I am looking forward to the next meeting with this amazing world of art.
How do family and children influence your work? How do you manage to balance teaching and personal life?
Undoubtedly, my family has a tremendous influence on me. My youngest son, seeing me sit down at the easel, immediately wants to join in. So we got him his own easel, and now he enthusiastically paints with acrylics next to me.
My husband, by the way, paints portraits beautifully, but in his time, he preferred a sports career. In the evenings, when the older sons go to training with my husband, my youngest son and I immerse ourselves in creativity. Each of us works on our own canvas, and in this activity, we find our own special harmony. Everyone is doing what they love, and this creates an atmosphere of mutual understanding and creativity in our family.
You mentioned love, honesty, and respect as important values. How are they reflected in your art and work?
Love… It permeates everything; it lives in every person. How can you not love a child? And it seems to me that everyone involved in creativity is a person who loves: loves art, loves people, loves everything around them. How can you not love the nature you depict, the animals you paint? Love and honesty are what, for me, are inextricably linked.
Honesty is always my top priority. I am convinced that a bitter truth is better than a beautiful lie. And I value it when both children and adults tell the truth. This helps them overcome their fears, break free from imposed roles. I try to explain to my children and my students that deception leads to nothing good; it only confuses. And they seem to listen.
Respect is a value that is deeply rooted in Kazakh culture. From birth, we are taught to respect elders. Grandmothers, grandfathers, and parents have always held a special place in our lives. We also show respect to guests by seating them in the place of honor at the table – “tor”. This respect, it seems, is in our blood – respect for elders, respect for people. And we pass this value on – to our students, our children, and everyone around us.
What are your future creative plans? Are there any ideas or projects you would like to share?
One of my main creative plans is to participate in the annual festival in London by Golden Time Talent. Also, I recently joined the Global Talent Confederation. I’m interested in learning how to promote my work and assert myself. In general, I have many creative plans and projects for the future.
I try to take my students with me to exhibitions and events, and this time I’m planning to take even more children to London, as well as my former students who already have families. Next year, if possible, I want to organise a trip for my fellow teachers as well, so that they can also feel their importance and value. I want as many people as possible to experience the same feelings that I did when I visited the exhibition in London and the awards ceremony.
Therefore, I strive to take more and more people every year, so that they are also recognised and appreciated. And, of course, I hope that this will also have a positive impact on my reputation.
