"Across Georgia, a series of stunning frescoes traces the country's fractious history, from its early Christian origins to the Soviet-era socialist utopianism. It was through these murals that Nina Kintsurashvili first encountered art-traveling with her father, Lasha, as he journeyed to remote mountain regions to restore medieval murals and re-learn the art of fresco painting. Here, she discovered the importance of perspective, space and line work through the logic of Byzantine and Georgian iconography, absorbing a semiotic system she has adapted and distorted,"
"These pages of ancient historical books, small sketches and other objects are displayed between two glass panels-their quiet vulnerability pairing with a series of large-scale abstract works that emerged out of "recognizing painting's ability to transcend its own signification and operate outside linguistic limitations." These paintings are layered and indistinct; their shapes and markings emerge dreamlike on the stretched canvas, unconstrained by fixed meaning."
"The exhibition also marks the first step in bringing a Georgian contemporary art perspective to Berlin; 'Creature, Creatures' is both Kintsurashvili's first solo show in the city and the inaugural exhibition of the Tbilisi-based gallery's new Berlin outpost. In our conversation with the artist, Kintsurashvili discusses the importance of Tbilisi's secondhand book dealers to her practice and why opening space for imagination, misreading and transformation is essential."
Nina Kintsurashvili learned fresco techniques restoring medieval murals with her father in remote Georgian mountains, absorbing Byzantine and Georgian iconographic systems. Her Bukia Vakhania exhibition, Creature, Creatures, pairs large abstract canvases with, for the first time, glass-mounted research materials: ancient books, sketches and objects. The works translate semiotic rules of perspective, space and line into layered, indistinct paintings whose shapes and markings emerge dreamlike and resist fixed meaning. The display foregrounds material sources and the role of Tbilisi's secondhand book dealers in shaping research. The show inaugurates a Tbilisi gallery’s Berlin outpost and marks Kintsurashvili's first solo exhibition in Berlin.
Read at Berlin Art Link
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