Tea Gvetadze

Born in Riga in Latvia, Tea Gvetadze was trained at the Academy of Arts in Tbilisi, and then she followed her education in the Academies of Amsterdam and Düsseldorf, where she now lives and works. She represented Georgia at the biennale in Venice in 2003.

In a heterogeneous style, the imagination of Gvetadze presents a range of proposals sufficiently varied so that the observer will be tempted to conclude that this work is a product of several artists. Were it about this man in a suit with holes in his face in a Magritte’s manner and the core of which lets us see an ancient view of Bosporus or this bearded diver painted smoothly in pastel colours, we could conclude that the artist was especially attached to the portrait. Leaving analogy, Majesty and Kriton, two painting dated 2006, show an interest for the revelations of an interior being more than a mask as a social figure. A shape of static and serene expressionism, more literary no doubt for the first one than for the second. Regarding Flowers for Henry painted the same year in a texture that is more like an illustration, it reminds in a certain manner Japanese engravings appeared in Europe in the second half of the XIX century and that strongly influenced artistes at the time, in particular impressionists. A painting split in two in its verticality, coloured with a note of eroticism if not to say of a healthy and joyful pornography.

In 2009, comes along this child’s profile treated at the bottom in a relief in a manner of Della Robbia ceramics during the Renaissance. A U-turn that shows that the aesthetic stakes of the artist stay openly undefined. The eyes of Tea Gvetadze are always moving and she constantly demonstrates that. This permanent renewal of her style liberates genres at the same time at it cancels all intention of artistic identification, of an established aesthetics as it is in the modern art. So many facets that all move together in the way of an idea of formal evolution. Still farther away, we can see the artist to abandon the motive of human bust and projecting her questionings into the allegory: Heimweh, for example, illustrates a rose goblin parading a horse tail that seems to be connected to the sky, a goblin opening a coffin flooded in a celestial mist coming down to the earth. An empty coffin. Above this strange scene, esoterical elements of an unsolved triangulation, a head and a shoe with high heels are flying. Tea Gvetadze has the sense of aesthetical opposition as well as of a visual enigma.

Stéphan Lévy-Kuenz