The painter passed all the stages, typical of the art of the late 1960s – 1970s (fascination with folklore, primitive). The works of the artist are very different, but taken together its immerse the audience in the art world, which is perceived as a continuous link between generations. If in his early canvases compositional and scenic principles dominated, which are recognizable by the originality of manner of writing – they are characterized by decorativeness, heft of color forms, then, subsequently the problem of painting technique, rhythm and pattern design, color saturation go dominating for him. Creativity of B. Serekeev is characterized by the desire to develop his own artistic handwriting, desire in his own way to develop a theme.
Theme painting takes an important place. The artist draws his attention to the rural theme and the theme of labor, which reflect the uniqueness of the Karakalpak people, their way of life, customs and skills of artisans of national applied art. People with their everyday concerns are the main characters of his paintings. Most frequently, genre art and landscape painting in these works come together, mutually enriching and complementing each other. Those include ‘Female Master, Sewing the Mattress’ (1976), ‘Female Masters of Felt Mats’ (1973), ‘Grandson’ (1977), ‘The Family of the Artist’ (1988), ‘Saddle of Grandfathers’ (1989), ‘The Village of Bogen’ (1989), ‘Spring in the Village’, ‘Two Camels’ (1990), ‘Young Rider’ (1991), ‘Spring in the Garden’ (1991), ‘In the evening on the Canal’, and others.
You can learn more about this topic in the book-album "The Collection of the State Museum of Arts of the Republic of Karakalpakstan named after I. V. Savitskiy" (Volume IX) from the series "Cultural legacy of Uzbekistan in the World Collections".
The general sponsor of the project is the oilfield services company Eriell-Group.
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