Nestan Mikeladze

All 9 works depict the letters of various Georgian scripts. Georgian script has three historical forms: the first and the oldest – Asomtavruli, the second – Nuskhur-Khutsuri, and the third, modern – Mkhedruli. The works present the letters of the Asomtavruli and Mkhedruli scripts.

Asomtavruli is among the oldest discovered Georgian scripts and its anatomy is unique. Its letterform is a combination of circles and straight lines which are always connected at right angles. However, there is one exception to this rule in the letter “J”. According to historian and scientist Elene Machavariani, it is formed by combining two letters, “I” and “Q”, which are the initials of Jesus Christ in Georgian (Ieso Qriste), and thus she considers it the monogram of Jesus Christ. Machavariani also believes that the letter “J” has been established in the Asomtavruli script since the spread of Christianity in Georgia.

Seven of the presented canvases depict both individual letters and words of the Asomtavruli script. The letter “J”, which carries a specific meaning, is presented in two forms, positive and negative.

Three canvases presented diagonally from left to right are the visual expression of the idea I am currently exploring – “the gap between conscious intention and unconscious truth”. Are we ready for what our souls might reveal? Are we ready for the truth? The canvas in the middle of the diagonal is the word “Gap” written in the Asomtavruli script, while the first and the last canvases of the diagonal are the words “Conscious” and “Unconscious” written in the Mkhedruli script, respectively.

Following the completion of the residency program this spring in the south of France, I’ve introduced new techniques, materials, and mediums into my practice. This has led to a new series of artworks and small clay sculptures. The artworks reflect recent explorations of form and color, along with a newfound freedom in expressing previously held-back ideas. The sculptures evolve around tactile and sensorial experience.

While the mini sculptures invite viewers to discover their own form – evoking thoughts or emotions that ask for attention – the works on canvas narrate the story of getting closer to the self!

“Dasein” is German for “there being”. Inspiration for this series has been my inner longing for minimalism. It was important for me to embody what I had in my mind and observe what the realization of that would bring me as a human being and as an artist.

The series responds to the philosophical concept of “Dasein”, which is the individual’s mode of uncovering itself and thus disclosing other entities around itself.

From Latin, “From within”.

Dreams often convey metaphoric clues. “Bundle of hay” is a visual demonstration of such a clue: an allegorical depiction of a human life going up the hill, thus in a struggle. The end of the struggle is at the peak of that struggle.

The exhibition is dedicated to the idea of “Faith as a tool to confront your future potential”.

The human hand sculpture is a symbol of acting out and actualizing latent potential.

I planned the series “Something old and something new” for a reason. The aim was to redirect attention from color toward something new – toward forms, thoughts, and myself.

While creating the series, I moved through several phases of metamorphosis. Everything started as an automatic and unconscious process, like when you know (or think you know) what you are doing and you rely on familiar patterns and approaches. The lack of color drew me out of my comfort zone, but I did not immediately acknowledge it. I nevertheless continued and understood that my old ways were no longer valid. I started to explore new ones. But still, the discomfort caused by the lack of color distressed me. At some point, I felt that I had brought into my art all the constraints and boundaries I had in my life. Suddenly everything felt like imprisonment to me, as if I had been seized. I wanted to go back, back to my familiar patterns, in hopes of finding comfort and temporary safety. Imprisoned and sheltered by a false safety net, I did not feel free, and I exploded. Now I was free, but I did not know myself as a free person. Pieces of me were all over the place. And then the finding of myself began again.

Slowly and gradually, the turbulent water settled. I found myself twice, and both times were different, mirrored and opposed. I accepted it, and I felt real. I accepted myself and I accepted others, as I was and as they were.

Finally, I saw myself and me, everything within me and everything around me.

The other side of the whole experience was amazing. On the one hand, I had a constraint (black and white only), and on the other hand, I was free – free from regrets, free from thoughts, free from decisions. That was paradoxical at first glance.