IRME MAMSIRATI
ART
Irme Mamsirati is an artist and designer with a degree in Ceramics from Gazi University. Her practice draws on her Ossetian roots and experiences across different geographies. Her years in Russia and close engagement with avant-garde art have played a significant role in shaping her visual language.
Alongside painting, her practice encompasses ceramics, fashion, and curatorial projects. In 2004, she founded Mamsirati Irmæ, through which she explored design and sustainable production.
In 2017–2018, she organized exhibitions under the art’ALAN Exhibitions initiative, bringing together artists from diverse geographical and cultural backgrounds.
Irme held her first painting exhibition at Brick Lane Gallery in 2017. Her works have since been exhibited in the United Kingdom, Germany, the United States, Turkey, Greece, and Russia.
Her abstract and avant-garde works are held in private collections across the United Kingdom, the United States, Australia, Canada, Russia, Germany, Malaysia, Italy, Greece, Mauritius, and Turkey. In 2021, her work Labels was exhibited as part of the first NFT Biennial at Superchief NFT Gallery in New York.
ABSTRACT
Irme Mamsirati’s abstract collection is characterized by heavy impasto and intricately layered surfaces. Palette-knife scraping techniques create structural depth, while controlled drip painting and splattering introduce kinetic energy into the compositions. Through mixed-media applications, crackle effects, and bold, high-contrast color palettes, the works establish a visual balance between organic forms and sharp contours. This experimental, tactile approach creates not only visual depth but also a sense of physical volume on the canvas, offering viewers a multidimensional aesthetic experience.
RED Series
Her avant-garde paintings primarily explore the theme of women, examining the social perception of womanhood, the individual's relationship with the self, and the experience of being. Through a restrained color palette, bold forms, and a minimalist visual language, she creates a space between the personal and the social.
YELLOW Series
The minimalist, neutral, and understated facial features of the figures create a deliberate contrast with the structural complexity of the ethnic patterns featured on their clothing, including Matryoshka motifs, mandalas, lotus flowers, and geometric designs. The strategic use of yellow through color blocking across backgrounds, textile details, and the figures’ lips establishes a strong visual rhythm and coherence throughout the series. This crisp, sharply defined style directs the viewer’s attention to the cultural symbolism embodied by the figures and the graphic strength of the forms.
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