Paintings

What cannot be said in words looks for another way to speak. Working on canvas, paper, and glass, this practice approaches painting as a site of memory, time, and physical presence. An idea appears, followed by the need to find its form. Released into space, each work begins a life of its own, reshaped by light and another person's gaze.

An architectural re-assembly of a fractured biography within immigration in Kutaisi. Collage acts as a survival structure, using friendship with the local community as the mortar to bind a new domestic reality.

A three-part series exploring the reconstruction of identity through deliberate detachment. Using indexical body prints made by an external model, the canvases track three distinct movements: assessing past trajectory, withdrawing into a cocoon, and establishing direct contact with the self.

Created to process forced separation from my daughter due to immigration. Reconstructed from video calls and shared messages, the scene captures her making burgers while staying at her grandmother's house. Ink and watercolor translate a pixelated screen contact into a tangible physical record of connection.

An inquiry into intergenerational dialogue, mapping a four-way correspondence between Petre Otskheli, Kote Marjanishvili, David Hockney, and the artist. Integrating direct text from Otskheli and Marjanishvili’s archives, the work adopts Otskheli’s native medium of gouache to establish an authentic material link across time.

Created as a tool of curatorial inquiry for the exhibition When I Knew I Could Fly at MoMA Tbilisi. The canvas serves as a testing ground for the project's conceptual core, centering on a node-like assembly of chairs configured into the form of an aircraft—a vehicle engineered for collective escape into a dream state.

A tetrapak grounding Epicurus’s materialist axiom on mortality within Baudrillard’s critique of the simulacrum. Integrating iconographic spatial symbolism with photography of living models and mannequins, the series utilizes reverse acrylic painting on transparent glass—a technique requiring inverted layering where the first mark permanently governs the foreground. The sequence maps the surrender of physical presence to social media proxies, capturing the moment human identity dissolves into fabricated image.

A diptych examining the dual psychological states of the Kutaisi dam as an industrial and emotional landscape. The first canvas captures a serene, sunset contemplation where the surrounding environment observes without pressure, offering warmth and safety. The second shifts sharply into the industrial sublime, painted under the auditory impact of a nocturnal siren and opening spillways. Here, high-pressure water walls and searchlights frame a position of sheltered vulnerability—safe behind a window, yet exposed to the terrifying force of the element.

A two-part graphic cycle tracing the architecture of attachment from distance to capture. The first work adopts Georgian naïve motifs to construct a geographic invitation along the Rioni River. The second operates as a double herbarium, pairing a desiccated bouquet with an inverted bird specimen to examine where protective preservation rigidifies into emotional captivity.

A triptych exploring psychological self-fragmentation through reverse acrylic painting on transparent glass. Blinded by a virtual reality headset, the central figure enters an internal support group composed of his own projections—a subtle dialogue between the Last Supper's structural tension and the support groups in Palahniuk’s Fight Club. The inverted layering technique traps each splintered persona behind a synthetic barrier, framing self-analysis as a mediated, virtual ritual.

A two-part study on tactile gesture and internal burden. The first work frames an affective resonance, translating psychological pain into shared emotional presence. The second reduces the figurative narrative to a pair of isolated hands set against a void, where aesthetic grace converges with quiet threat.

A study in magical realism and zoomorphic posture. By shifting the nude figure from a conventional seated pose to a feral stance atop a chair, the portrait dismantles classical academic staging. Red hair and instinctual tension transform the subject into a hybrid entity, where human vulnerability intersects with wild, animalistic presence.

A early body of work (2010–2014) documenting a shift from Post-Impressionist landscape studies to formal conceptualism. While the Crimean and Balinese works analyze atmospheric density and light variation, THREE reduces the composition to a semi-abstract enquiry into presence, reflection, and void—establishing a structural methodology that underpins the artist's later practice.