Erna Dolmazova. «Transformation forms». 2005. 80X60 cm

(Mama Cash for Women)

 

Common space of picture-object series «Transformation forms» is development of logical links between the objects composing the work, which are supplied by histories starting from artist grandmother and ending with artist (her granddaughter).  Destroying common links she created new ones. This is logic, logic of fantasy and dreams, raised by random jugglery with favourite objects (grandma’s swimsuit, old buttons, and old linen) and images. As a result her genealogy is brought to the forefront – inheritance in the aggregate with chaos and other entropy. Stopping intentionally at outward features she avoids opening of the brackets.

 

     

 
   

 

Thea Telia

Red Magic.2000-2004. (OSGF)

 

Red is blood,

Red is the color of alarm, signal flag, for instance at blasting operations.

Fish jaw, moon and sun at rise and down are red.

Fire, iron in fire is red, sometimes, earth and day beyond the closed eyelids are red, lips are red, a kerchief on the green and grey landscapes of Coro, wounds, poppies, shame and anger are red, many things are red – plush in theatres, dog-rose, Pope, shawls of toreadors exciting bulls, devil maybe is red and red revive from green and red, yes, red is the color of all colors – for Gantenbein.

 

Max Frisch

 

 

Kote Sulaberidze.2004.(USAID.IRIS)

Revolution

     

Aesthetic transformation of a two-meter wooden construction into bronze texture through golden paillette colors is Kote Sulaberidze's intentional attempt of monument imitation. In constant flow of our days, on the threshold of future he erected a monument, a conceptual monument to the Past. Its stopwatch is continuous in duration of its reality. The artist involved intensively in revolutionary processes creates an object, memorial with its historic orbit, inner rhythmics and motion - from naturalism to symbolism, from romanticism to mysticism and vice versa. The artistic barricades are not built in one day. Fixation of artistic painting reflex, graphic sketches and even snap shots may not create entire dynamics of processes. "The Revolution" was settled from revolutionary impressions of the last period, it required time and distance.

 

This time, the artistic system stands on the firm ground of real, historical laws of life, the inner circulation of which develops through fundamental inertia. Common national features - but mostly of the latest history - are revealed very intensively. The author offers symbolism of the past decade. He is interested in deep roots of national emblematics that concerns investigations of mentioned symbols and their colorful conception and defines the subject of present-day revolution.

 

The artist presents the color gamut that is associated with colorfulness of historic memory of the old Georgian flag. Through a spectator's outlook images are identified with fascinating symbolic incarnation of revolution, interpretation of a rose in painting that bears specific ambiguity and at the same time includes two features - illustration and reality. The stylized ornamental vine lace foreseen by composition with five-cross flag symbols implies the idea of identification with future and rests in the infinite space of white exhibition wall.

 

Despite a great number of preliminarily prepared sketches and calculations, the object is not directed to external effect. On the one hand heterogeneous combination of textures - wood, velvet, porcelain; on the other hand - active, one might say " baroque" colorfulness - crimson, golden plastic expressiveness is addressed still towards neutralization and is concentrated on inside dynamics and consciousness.

 

The artist took those days into his own hands. He draws conclusions not because of decade's changes, but because Georgia enters different social-political epoch that creates fundamentally different dimension for artistic activity.

 

Alexandra Gabunia