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I grew up going to my father’s studio in Tbilisi, where, among his paintings, he would have a theater maquette or two on display, testing his designs for upcoming productions. I remember him with a flashlight, tracing light over hanging transparent paper, a reference for a curtain, or moving shapes around the stage model. As I go around my Berlin studio, setting up objects to photograph or using finger lights to trace things on film, I get a sensation, like a wind at my back, that I am mirroring him.
There is a fantastical nature to Gogi’s work; it manages to walk a nuanced line between kitsch and beauty, pop and earnestness, pain and decoration. There is also a relationship to materials and an idea of a frame that I share.
As I was texting my new photographs to my friend SGR across the ocean, he replied:
“…Looking at shit through a frame… and things that die inside of it… Flowers being...More
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Press Release
I grew up going to my father’s studio in Tbilisi, where, among his paintings, he would have a theater maquette or two on display, testing his designs for upcoming productions. I remember him with a flashlight, tracing light over hanging transparent paper, a reference for a curtain, or moving shapes around the stage model. As I go around my Berlin studio, setting up objects to photograph or using finger lights to trace things on film, I get a sensation, like a wind at my back, that I am mirroring him.
There is a fantastical nature to Gogi’s work; it manages to walk a nuanced line between kitsch and beauty, pop and earnestness, pain and decoration. There is also a relationship to materials and an idea of a frame that I share.
As I was texting my new photographs to my friend SGR across the ocean, he replied:
“…Looking at shit through a frame… and things that die inside of it… Flowers being...More
































































































































