Are.na
UCLA Art School Expansion
Thick-Skinned
Jingdezhen Imperial Kiln Museum
Caravanserai
A View From The Upside Down
Untitled
A Common Burn
Stamps
Soap Dish
The Urban Dead
BASQA
Peri / Jeztırnaq
(she/her) is a Kazakh multimedia designer and artist based in Los Angeles, whose work focuses on experimental architecture, photography, and visual communication. Having lived in a post-Soviet Central Asian country and the UK, Anel’s multi-cultural background informs her approach to design which subverts the narrative structures within the medium. She is interested in non-linear, experimental forms of storytelling as well as non-hierarchical structures in her art. In her recent works, she contemporizes Kazakh folk motifs. She graduated with two BA degrees in Design | Media Arts and Architectural Studies at UCLA and will continute her higher education pursuing Masters in Architecture.
plaster, mdf wood, 3d-printed pla, leather.
University of California, Los Angeles
Bachelor of Arts in Design | Media Arts and Architectural Studies
Masters in Architecture
Experience
Work Experience Intern
HOK London
Feb.-Mar. 2018
President
Russian Speakers Club at UCLA
2023-2024
Artist and Designer
UCLA Radio
2021-2022
Artist and Designer
Bruin Review
2019
Social Media and Design Coordinator
Russian Speakers Club at UCLA
2019-2023
Exhibitions
Jan. 2024
“Sincerely,”: Senior Thesis Show.
Jun. 2023
Design Media Arts Undergraduate Exhibition.
Jan. 2019
group project instructed by Benjamin Freyinger.
collage.
BASQA–translated to OTHER–is a magazine that aims to shed light on the people that are neglected by mainstream local Kazakhstani media. Through the use of film, poetry, photography, architecture, and the stories of Kazakhstani people from all walks of life, BASQA is a small magazine trying to tell stories and give space for the unheard and untold stories.
were roadside inns along major trade routes like the ancient Silk Road, that doubled as hubs for the exchange of goods, ideas, and culture. This project aims to survey and decompose circulatory system of the Aminabad Caravanserai, the juxtaposition of public and private space and the processional movement, and to establish modes of expression to showcase said survey.
By embodying a nuanced, yet critical, approach of the formal conversation of practice with the vernacular into architectural instruments, I relish the opportunity to discover new typologies for design. Furthermore, the sense of participation imbued through this practice signifies the idea of design also taking the form of an ever-changing organism, rather than singular, fixed truth.