"In the After-Image" becomes a permanent art installation by Medina for the Azerbaijan National Carpet Museum
13 July 2026
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Azerbaijan, Baku, National Carpet Museum
In the After-Image is a permanent art installation by Medina for the Azerbaijan National Carpet Museum, bringing together a constellation of works that all originate from a single source: oil painting Flowers for Mothers
Press
Related Artworks:

Flowers for mothers (Generation Art)

Flowers for mothers (Generation Art)

Flowers for mothers (Generation Art)
First conceived as an oil painting, the work gradually unfolded across multiple material dimensions — evolving into stained glass, digital art, and a handwoven carpet created in collaboration with the museum’s weaving team.
Rather than producing separate works, Medina developed a process of reflection and translation. Each iteration of Flowers for Mothers carries the visual memory of the original painting while transforming its structure, texture, and perceptual experience. The image migrates from canvas to glass, from light to textile, reappearing in altered states — mirrored, refracted, woven, and reanimated.
The carpet occupies a particularly significant place within this process. Produced in close collaboration with the Azerbaijan National Carpet Museum and realized in the museum’s Traditional Technology Department, it translates painterly gesture into textile rhythm. Brushstrokes become knots; colour gradients are reinterpreted through thread density and weave structure. In this transformation, the original image is not reproduced but reconstituted through the logic of craft. The work thus enters into dialogue with Azerbaijan’s long-standing traditions of ornament, repetition, and embodied knowledge, where pattern is carried across time through gesture and labour.
The installation further expands into a multi-sensory environment. A soundscape composed from recordings of the carpet-making process resonates throughout the space, allowing the rhythmic movements of weaving to emerge as a subtle melodic composition. Through sound, the act of making becomes part of the artwork’s afterlife.
Together, these iterations of Flowers for Mothers form a layered meditation on persistence — on what remains after an image has passed through different material, sensory, and temporal conditions. Paint, glass, digital light, textile, and sound function as successive stages in an ongoing process of transformation.
All components of In the After-Image have been acquired into the permanent collection of the Azerbaijan National Carpet Museum.







