Paintings - Kenjayev San'at - Valikhodjaev Ibragim

Kenzhayev San'at, was born in 1987 in the city of Kiziltepa, Navoi region.
Education:
1994-1999 - school № 3 named after T. Khamid
1999 - 2005 - Lyceum of the boarding school of fine and applied art, faculty of fine arts
2005-2009 - National Institute of Arts and Design named after K. Bakhzod, Faculty of Fine Arts, Department of Theater Bachelor's Decoration
2012-2017 years - an artist at the Youth Theater of Uzbekistan.
2013-2015 - the National Institute of Arts and Design named after K. Bakhzod, faculty of fine arts. Film and television film solutions master's program.
2016-Teacher at the National Institute of Arts and Design K. Behzod
Participation and achievements:
2008 - "Tabiatravrasom" participant.
2009 - "Week of Fine Arts".
2014 - "Yubiliy A. Temura 679" curator of the exhibition
2015 - "Personal exhibition" at the Youth Theater of Uzbekistan
2015г -Асистент artist of the feature film Umida Khamdamova "Shunkorlar"
2017 - "Alexander the Great Pood to Roxane" participant.
2017 - The main artist in the TV series Sherali Ortikov "Badal".

Artist-painter, a member of the Creative Association of Artists at the Academy of Fine Arts of Uzbekistan.
The name of Ibrahim Valikhodzhaev is among the most interesting and famous artists of Uzbekistan.
Works are in the museums of Uzbekistan: the State Museum of Arts, the Directorate of Art Exhibitions at the Ministry of Culture of Uzbekistan in Tashkent, regional museums of local lore in the cities of Ak-Kurgan and Namangan, as well as in private collections and galleries of the USA, Canada, Italy, Germany, The Philippines, South Korea, and others.
The main theme of his work is the images of his contemporaries, everything that surrounds them and how they live - character characters, everyday life, various manifestations of everyday life. Personal attitude to this he manifests in various genre compositions, numerous portraits, still lifes, landscapes.
In his works he leaves a priority behind painting. With an enthusiastically experimenting with color, his own inner flair guesses and compares, seemingly, incomparable, as, for example, in a well-known series of works devoted to the theme of the Namangan bazaar, the last portraits where he combines or boldly confronts contrasting, locally taken, picturesque spots. As a result, bright decorative canvases are born that carry the color and warmth of the native Uzbek land. Or, on the contrary, these are works in which he solves the most complex color problems with the finest nuances of transitions and combinations of warm and cold tones. They are muffled and extraordinarily beautiful in the general picturesque solution.