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Created using humble materials from traditional sculpture or found in the everyday environment, such as wood, clay, plaster, glass, fabrics and steel, Thea Djordjadze’s sculptures and installations are characterised by their fragile, temporary and transitory nature. Seemingly produced on the spur of the moment – the artist likes to keep her works open, and often finalises or modifies them when installing the exhibition –, they are a crystallisation of both the process of their production and their possible alteration through time. Far from being conceived as fixed, circumscribed forms, they manifest themselves as “gestures” temporarily inscribed in the exhibition space.
Combining geometric structures and more organic elements, Djordjadze’s pieces refer, in an elliptical way, to familiar forms such as domestic objects, architectural elements and presentation devices: plinths, display cases, cabinets... They are the result of an intuitive approach to space, treated as a place of perceptible manifestations in which the viewers are invited to wander around and create their own reading in an equally intuitive way. Djordjadze often describes her practice in terms of poetic form, in which the relationship between words, the way they seem to ensue from those around them and their arrangement on the page, is as significant than their isolated meaning. In the same way, it is above all the dialogue woven between her works, the exhibition space and the viewer’s experience that interest the artist.
Developed in collaboration with Malmö Konsthall (Sweden) and the Kunsthalle Lingen (Germany), our full is emblematic of this approach. For this sequence of exhibitions, Thea Djordjadze has effectively created a body of work destined to be reconfigured in a unique way at every stage of the project, in response to the various locations. Each of the three exhibitions thus presents itself as an ephemeral constellation created in the exhibition space.
Thea Djordjadze was born in 1971 in Tbilisi, Georgia. She lives and works in Berlin.
