Artist Spotlight: Nagima Alamanova
Please tell us about yourself. How did your journey into embroidery begin?
I’m an artist working in the field of decorative and applied arts.
I think it is deeply rooted in my family heritage. My great-grandmother was a craftswoman who raised my mother, and my mother, in turn, became a craftswoman herself.
When did you first discover traditional Kyrgyz embroidery? Who was your first teacher or source of inspiration?
From childhood, I was immersed in this world, helping my mother and learning from her. We did more than just embroidery — together, we made shyrdaks and ala kiyiz. It was simply a natural part of our everyday life.
My mother was the one who instilled in me a love for embroidery. She taught me to feel the material, appreciate the work that goes into it, and respect the traditions behind it.
Perhaps that is why I now understand that this is more than just an occupation for me — it is my calling.
What does Kyrgyz embroidery personally mean to you — both as a person and as an artist?
For me, Kyrgyz embroidery is a language through which I can express ideas, feelings, and meanings. It is a connection to my roots and to the collective memory of my people. Through its patterns, it carries symbols, stories, and blessings — or bata — passed down from one generation to the next.
It is also an inner state that is reflected in every piece I create.
What traditional techniques of Kyrgyz embroidery do you use in your work?
I use a variety of techniques, but I feel particularly close to kerme saima — a technique in which the fabric is stretched and the embroidery is worked with a hook.
Most of my pieces are made in a mixed technique: I begin with a hook and then refine the work with a needle. In the process, I use traditional methods such as basma saima, it taman, chyrash, tuura saima and so on. These are different types of Kyrgyz embroidery, each with its own texture and character, and together they allow me to create a deeper and more vibrant expression in my work.
You often mention the technique of kerme saima. What is this technique, and how does it differ from other types of embroidery?
Kerme saima is a special technique that creates a dense, textured surface. It requires patience and precision. Unlike other types of embroidery, here it is not only the image that matters, but also the texture itself — it is what makes the work look alive.
How does the idea for a new piece come about? What does your embroidery creation process look like?
Since I am an artist, my ideas usually come from within — they can begin with a feeling, an image, or a particular state of mind.
When I see the color of a fabric, the future piece often comes to me instantly. I can almost see it already completed — the composition, the colors, the rhythm of the stitches, the patterns. All that remains is to bring this inner vision to life through the material.
What materials do you prefer to use in your embroidery?
When it comes to fabric and threads, I prefer natural materials. It is important to me that the material can “breathe” and feel alive, because this directly affects the result.
In addition, the embroidery technique itself requires a natural base: these materials hold their shape better, do not pucker, and allow me to achieve a more precise and refined result.
You conduct master classes and teach students. What matters most to you in teaching?
In teaching, the most important thing for me is to convey not only the technique, but also the right state of mind. I encourage my students not to rush, to be present in the process, and to respect both the material and the tradition. This is what I try to pass on.
My main goal is to preserve this knowledge and pass it on to the next generation, so that the art of embroidery is not forgotten, but continues to live and evolve.
My students range in age from 10 to 80, and I see that interest in traditional crafts — including embroidery — is growing noticeably.
What advice would you give to people who are just beginning to learn Kyrgyz embroidery?
When our grandmothers embroidered, they would sing, think good thoughts, and make wishes. For them, embroidery was not simply a craft; it was a meaningful and mindful process, filled with intention.
I pass this on to my students as well: it is important not only to embroider, but also to be in the right state of mind — to think positively, put good intentions into the work, and make wishes. That is when the work becomes filled with a special energy and meaning.
Don’t rush. Give yourself time. Don’t be afraid of mistakes. And most importantly, work with respect and curiosity — then, little by little, everything will reveal itself.
What projects or dreams would you like to realize in the future? And where can people find you?
I have many different projects ahead of me, including organizing exhibitions. But I don’t really like to reveal my plans and dreams too far in advance — I would rather let the results speak for themselves.
You can find me on Instagram and Facebook, where I share my work and my creative process, and I’m always open to collaboration.
