Lost Signal Tracking

“Lost Signal Tracking”

Zurab Arabidze's multimedia project Lost Signal Tracking is an conceptual abstraction. The large scale installation is built on the extension of object and space connections and occurs as existential metaphor. The viewer follows the dramaturgically developed exposition and successively stops in a tense, supportless space, where there are only hints of the transient and the eternal, the linguistic dimension (text) and the landscape, then moves into a field full of dangers of technological progress and as if continues to search for a lost signal with accompanying psycho-emotional moods. Lost Signal Tracking continues such an important topic of contemporary art history as the conditionality of systems and their analytical criticism along with the search for artistic correspondences.

Zurab Arabidze's artistic experience is based on the theme of the minimalist form's relationship with space and its connections with different states, primary meanings. His art is concise and clear, sometimes characterized by a heavy severity, where the symbols of barrier or  wall  and unpredictable, almost surreal exposure are important.

Lost Signal Tracking  summirizes previous artistic research, it reveals as sort of conclusion, presented through series of several-part installations. The visitor initially encounters an abstract chaos in which the conditional metal structure, the symbolic house, the distant landscape and the sacred text exist fragmented in levitation and provide a sense of disorientation for the viewer.

The second part of the exposition on the upper floor resembles the uncatchable glimpses of consciousness, attempts to "capture" and comprehend them, where post-apocalyptic associations of disaster, disappeared sense, fragments of memory and a combination of subjective feelings appear again with extreme briefness and categorically. Zurab Arabidze is an artist whose oouvre display precise links between materials, geometric forms, natural energies and video or photo images. Lost Signal Tracking is an interactive project that is carried out only with the participation of the viewer.

Khatuna Khabuliani, PHD Art Historian

“Utopian harmony of the system (Imbalance of consciousness)”

The installation, titled “Utopian Harmony of the System” and “Imbalance of Consciousness,” not only reflects the fragile balance of human systems but also a deep conflict between the external image of stability and internal decay. The authoritarian system depicted in this work is presented as something harmonious, ideal, and flourishing. It creates an illusion of order and stability, where the house symbolizes comfort, security, and happiness. However, within this system, decay is taking place—individuality, freedom, and human values are rotting from the inside.

This dictatorship, despite its apparent power, destroys everything connected to freedom and the value of human life. Within this system, the individual loses significance, while the system itself becomes paramount. The house, standing at the center of the installation, symbolizes individual consciousness, which is being suppressed and decayed under the weight of imposed principles.

However, despite its external impregnability, this system is rotten and incredibly fragile. It creates an illusion of invincibility, but in reality, it can be destroyed at any moment. If the people living within it re-evaluate their principles and open their eyes to reality, this system, which seems indestructible, can collapse instantly. Just as the structure in the installation appears solid but is, in fact, teetering on the brink of collapse, so too can societal and mental systems crumble when values are reassessed.

Existentially, this work demonstrates how illusory the power of authoritarian structures can be, which, at first glance, seem harmonious and stable. In reality, both social and personal systems of consciousness are susceptible to sudden destabilization. If a person is able to re-evaluate their perception and reassess their principles, the system based on false stability can fall apart, along with the illusion of utopian harmony.

size: 305x305x200 cm / material: square tube 15x15mm, bolt nut, plywood. / year:2023

“Connection with God”

This art object, “Connection with God,” through its deeply symbolic visualization, immerses us in reflections not only on divine communication but also on the nature of power, authoritarianism, and the pain that accompanies any forced contact. The phone, ringing every 8 minutes, persistently tries to reach out, but this call, despite its regularity and apparent necessity, carries with it both physical and spiritual anguish. The thorns surrounding the receiver embody the inevitable pain of any interaction with an undeniable, absolute power—be it divine or human.

The number 8, symbolizing infinity, takes on a new dimension here—it is a metaphor for the endless repetition of attempts to establish a connection, attempts to answer the call, which offer no escape. This call doesn’t just beckon, it imposes itself, much like authoritarian structures seek to control and govern all aspects of life, from the spiritual to the personal, erasing the boundaries between them. This is power that oppresses not only in the political context but also in social, cultural, and religious spheres—any domain where control and coercion suppress freedom of choice and thought.

The mere act of answering this call is already an act of submission, an acceptance of pain as an inevitable part of existence in a world where connection, power, and freedom are intertwined in a cruel knot. The existential dilemma here is not only a question of faith but also a question of free will, which conflicts with the constant attempts of power structures—whether God or the system—to dictate their conditions.

The rug beneath the phone, a traditional symbol, points to cultural roots, hinting at the everyday nature of this control, which permeates society at all levels. The connection with God becomes a metaphor for a connection with any unquestionable authority, painfully intervening in the very fabric of human existence, turning freedom into an illusion and choice into an unbearable burden.

size: 45x45x20 cm / material: telephone, thorn, carpet, plywood. / year:2023

“Object of Worship No Signal”

The installation titled “No Signal” represents an object of worship that challenges modern perceptions of information and authoritarianism. The pedestal, made of concrete blocks, is placed on an old carpet, symbolizing a sense of disharmony and mismatch. On top of the pedestal stands a television, which in the context of this work can be seen as a head or brain transmitting messages. However, the key element is the absence of signal.

The television, a central symbol of information and control over consciousness in modern culture, is deprived of its function here. Instead of broadcasting information, it only transmits static noise, symbolizing the loss of signal, the loss of clarity and meaning. This prompts reflection on how, in dictatorial and authoritarian systems, the connection between truth and reality can be lost. People worship this object, bowing before a false idol, a system that has lost its link to genuine information, replacing it with empty noise, disinformation, and manipulation.

The dissonance between materials—the old carpet, rough concrete blocks, and the modern television—reflects the absurdity of this construction, which resembles an artificially erected object of worship. People worship something that holds no true value or meaning, much like in authoritarian regimes where society may submit to empty and meaningless slogans, having lost the ability to think critically. The loss of signal here is not just a technical glitch; it’s a metaphor for a lost consciousness, no longer capable of perceiving reality objectively.

The static noise from the television and the mechanical voice teaching how to restore the signal are reminders of a distorted reality, where propaganda and false ideals replace genuine information. Dictatorship seeks to control the collective consciousness, creating an illusion of control and stability, when in fact it broadcasts only chaos and disconnection.

Existentially, the installation raises questions about what we worship in society. People who have lost their connection to truth are easily swayed by false authorities and systems that, in reality, are devoid of substance. They continue to worship something that carries no meaning, remaining in a state of delusion and submission. Power dictates its rules through this noise, and the individual submits, not realizing they are worshiping emptiness.

Thus, the “No Signal” installation symbolizes the loss of meaning in authoritarian systems, where people, deprived of critical thinking, continue to obey a power that no longer transmits any signal of truth.

size: 350x250x280 cm / material: carpet, solid concrete block, square tube 20x40mm, TV. / year:2023

“The Flaming Tongue of God”

This installation, “The Flaming Tongue of God,” embodies not only the divine command but also serves as a symbol of authoritarian power that seeks absolute subordination. The first commandment, etched on the wall, states: “You shall have no other gods before me.” This divine decree, in this context, can be perceived as an analogy to a dictatorial manifesto demanding absolute obedience and recognition of only one supreme force.

The flame, shaped as a “flaming tongue,” symbolizes the aggressive power that dictates to man his place in the hierarchy, imposes its will, and tolerates no resistance. In an authoritarian system, just like in a religious one, there exists only one truth, one master to whom all must submit. The dictatorship, like this divine flame, imposes its laws and strives to keep people in eternal dependence on power, always beneath it, always in a position of subordination.

Existentially, this installation questions the idea of divine or authoritarian rule. Power, whether religious or political, seeks eternal control and the exclusion of any alternatives. It dictates its rules as absolute, tolerates no doubt or resistance. Just as fire consumes everything in its path, dictatorship seeks to destroy any individuality, forcing submission to its will and erasing the personal “self.”

In this system, the individual is a being who is always beneath, always obedient to the higher voice. But as soon as a person begins to reconsider their position, as soon as they start to question the absolute authority of this “flaming tongue,” they can break the chains of subordination and realize their own freedom. This is where the deep existential tension of this installation lies: between imposed power and the human desire for self-awareness, the freedom to be something more than just a subordinate to the divine or dictatorial flame.

Thus, the installation is not only about a religious commandment but also about how dictatorial systems seek to be the sole truth, imposing eternal subordination so that people never realize their own strength and freedom.

size: 80x120x80 cm / material: metal frame, rubber, plywood. / year:2023

“Who are you?”

This photo, where the question “Who are you?” stands against the backdrop of the vast ocean, resonates as a fundamental challenge to self-awareness within the space of existence. The water, symbolizing infinity, reflects our inner state, where all the fluctuations of the mind, doubts, and fears are absorbed by its depths. The ocean, stretching to the horizon, embodies the endless space of our consciousness, in which we wander, trying to define our essence.

The question “Who are you?” is central to existential philosophy. It forces us to think about our identity in a world where every human being faces meaninglessness, chaos, and uncertainty. The ocean in this context symbolizes not only the infinity of space but also of time, where each of us exists for just a fleeting moment.

This question echoes in the void, yet at the same time, it feels directed at everyone standing before the image. It sharpens the sense of our insignificance in the grandeur of the universe, where the ocean itself, with its ineffable power, reminds us of the infinity surrounding each of us. We are compelled to consider who we are in this vast, incomprehensible space, which is devoid of boundaries and explanations.

The concept of this work urges the viewer to reflect on their own nature, their role, and existence in this world. “Who are you?” can be perceived as a personal question, an internal dialogue with oneself, a search for meaning in chaos. The answer, perhaps, does not exist, but the process of searching defines us, leading us to delve deeper into our own consciousness and identity within a space that, like the ocean, remains mysterious and boundless.

Existentially, this image reflects our inner struggle to understand ourselves, our place in the world, and our connection to the vast space that we can only partially comprehend. It serves as a reminder that our essence is not always obvious, and the search for an answer to the question “Who are you?” may be a lifelong journey, where the infinite ocean symbolizes both external and internal uncertainty.

“Where are you?”

This photo embodies a profound existential question that transcends mere physical location and delves into the essence of one’s presence in the world. The sea here serves as a metaphor for the infinite, chaotic, and unpredictable space of existence. It symbolizes the fear of the unknown, the loss of direction, and the search for meaning. The gray sky hanging over the surface of the water creates a sense of a boundary that seems simultaneously close and unreachable, as if marking the line between consciousness and incomprehensible chaos.

The inscription “Where are you?” is not just a question—it is a metaphysical challenge aimed at the depths of existence itself. It leads to the contemplation of the limits of our understanding: who are we, and where are we in the context of time, space, and life itself? The question provokes a confrontation with emptiness—both external and internal. For as much as a person may strive, they rarely find clear answers to where they truly stand in spiritual and emotional terms. This is not just about finding coordinates in physical reality, but also about the struggle to find a place in one’s soul, in social contexts, and in the flow of history.

The sea, as a symbol of infinity and loneliness, absorbs our gaze, and its vastness highlights the complexity and entanglement of human existence. We constantly feel “here,” yet simultaneously sense that we are lost “there.” This state of uncertainty and dissatisfaction is an inherent part of being, tied to the fact that humans are always searching, striving to understand and find their place. However, in this silence and in the coldness of the sea, the question remains unanswered. After all, in a world where everything is fluid and temporary, is there truly a place where we can finally take root?

This is a deeply existential moment of confusion and despair, where each of us seeks our presence in the infinity of being, knowing that in this search, there is no final destination—only the process itself.

“Desperate Attempt at Liberation”

The video work titled “Desperate Attempt at Liberation” captures a man trapped within a system, symbolically struggling to break through an invisible barrier with his head. This barrier represents a metaphorical shell—a false construct imposed upon him by external forces, primarily the dictatorial system that surrounds him. The individual is painfully aware that he exists within this shell of false ideologies and distorted reality, desperately striving to shatter it in order to reach a state of freedom and infinite possibility.

The imagery of the man repeatedly striking the transparent wall with his head highlights the futility and desperation of his situation. It is not merely a physical attempt to break free but a mental and existential struggle. This wall is an oppressive construct, akin to the boundaries placed by authoritarian regimes that flood society with false narratives, creating a parallel world of contradictions. The man’s relentless efforts to escape illustrate the profound internal battle between the individual consciousness and the external system that seeks to suppress and control thought.

The moment of realization—when the man becomes conscious of the artificial paradigms around him—is central to this piece. It is the turning point where he understands that the system he is trapped in is an illusion, yet breaking free is not simple. He is entangled in the deep-rooted conditioning and societal structures that dictate how he perceives the world. His desire to break through symbolizes a longing for intellectual and emotional freedom, a liberation from the mental chains that have been forged by external authority.

This installation is an existential commentary on the plight of individuals living under authoritarianism. The barrier the man attempts to destroy is not only physical but a reflection of the mental prisons imposed on human consciousness by dictatorial systems. It is a poignant representation of the human spirit’s struggle against oppression, where breaking free from these invisible, yet powerful, structures becomes an act of defiance.

Through this video, the desperation of a man’s attempt to escape becomes a universal metaphor for the quest for freedom. The struggle to transcend the limitations imposed by authoritarianism and to access a space of free thinking, self-expression, and true awareness resonates deeply. The installation challenges the viewer to consider the boundaries that surround their own minds, questioning the systems that shape thought and behavior, and inspiring the hope that even in the face of overwhelming control, liberation is possible.

Ultimately, “Desperate Attempt at Liberation” is about the tension between oppressive systems and the innate human drive toward freedom—an unrelenting attempt to break free from mental and ideological confinement and achieve intellectual autonomy.

“Destructive Cult of Light”

The art object titled “Destructive Cult of Light” represents a profound existential symbol of authoritarianism, where light, initially meant to illuminate the world, becomes a tool of oppression and destruction. Light here symbolizes truth, divine revelation, but in this work, it takes on a menacing tone. It is embedded within a system that not only directs this light onto a person but also subjugates them to its power.

Light, typically associated with enlightenment and liberation, becomes a destructive force in this context. Rather than granting freedom, it takes it away. It blinds, forcing submission to its might, destroying the individuality of the person. The entire system is constructed so that the light, which should be a source of truth, becomes a mechanism of control and suppression.

This installation illustrates the oppressive nature of systems that, under the guise of enlightenment, manipulate the masses. Authoritarianism and dictatorship often use light—a metaphor for truth—to justify their actions, suppressing resistance and individual freedom. People, caught under this light, are compelled to submit, blinded by the power and grandeur of a force that, in reality, only oppresses them.

Existentially, the installation embodies the conflict between individual freedom and the oppressive system of power. The light in this work is a paradoxical phenomenon: it provides the ability to see, but at the same time limits vision, leaving the individual in a state of submission and helplessness. This is a metaphor for how authoritarian systems can make people believe in false ideals, deceiving them with the appearance of truth, while in fact controlling, oppressing, and destroying individuality.

The “Destructive Cult of Light” reminds us that any force, even if presented as a good, can become a tool of oppression when used to suppress freedom of thought. The light, which blinds and subjugates, becomes a symbol of false enlightenment, where there is no room for true liberation or self-awareness.

size: 250x250 cm / material: spotlight. / year:2024

“An Unpleasant Sensation Signaling Real or Potential Pain”

This work captures the moment of anticipating pain—a subtle yet inevitable intersection between reality and possibility. The black, sharp form, as if emerging from the wall, evokes a hidden threat that could be either physical or psychological. It remains in a state of suspension: not yet piercing the body but already causing discomfort, already acting as a warning signal.

This object embodies an existential paradox: the pain has not yet arrived, but its premonition has already transformed the perception of reality. The person is trapped between the fear of the inevitable and the hope that the threat will remain a mere possibility, never materializing. This endless waiting becomes the most exhausting torment, turning a second into eternity.

The minimalism and conciseness of the work emphasize its conceptual sharpness. There is nothing excessive—only form, creating a sense of anxious uncertainty. The black mark on the white wall becomes a symbol of the projection of inner anxiety, a psychosomatic experience in which consciousness generates pain even before it actually appears.

The work appeals to a universal human experience: the fear of the unknown, doubt about the boundaries between the real and the mental, the feeling of vulnerability in the face of the very possibility of pain. It remains at the level of the most delicate sensations, yet that is its power—because sometimes, the anticipation of pain is more terrifying than the pain itself.

size: 1.2x0.5x1.5 cm / material: thorn. / year:2023

No signal on TV, what to do? Why does the TV show "no signal"?

The works from the project "Lost Signal Tracking" were exhibited:

2023 Personal exhibition "Lost Signal Tracking" RUARTS GALLERY

2024 Group exhibition "New Faith" Arcane Space

2024 Culture Week Tbilisi "Lost Signal Tracking" Factory Tbilisi

2024 Group exhibition "New Faith" Arcane Space museum of modern art. Tbilisi, Georgia

Chilly Winter Is ExpectedPlay / From Perestroika Until Today

Chilly Winter Is Expected

Film screening “Chilly Winter Is Expected” Swiss Embassy in Russia

“From Perestroika Until Today”

1985 Perestroika was not merely a political initiative — it was a crack in the monolith of an era. The world held its breath. People began to speak of the end of the “Evil Empire,” of collapsing systems, of walls that could fall, and curtains that could disappear.

It was a moment when history began to reassemble itself.

On the ruins of the old ideology, a new sensitivity was emerging. Voices of youth, rock anthems, street manifestos — all spoke of an anticipation of change. But change is not only liberation. It is the pain of growth, the fear of the unknown, the confrontation with chaos that had long hidden behind the mask of order.

The symbolic fall of the Berlin Wall was not an entrance into freedom, but a collision with a new reality: freedom is not given — it must be rebuilt, brick by brick — and each of those bricks may be heavier than it seems.

It was in this historical fissure between “yesterday” and “tomorrow” that Georgia began its path.

The phrase “Georgia will become the second Switzerland” was not just a political slogan. It became a dream, a mental support, a national illusion, and at the same time — an internal promise to oneself. This phrase was a light in the darkness into which the country plunged during the 1990s.

Hunger, cold, devastation, war — all of it formed the context in which the dream had to survive.

And still, Georgia chose not to return to empire, but to move forward — through chaos and blood, toward independence and the attempt to build a new world order. A path where the fall of the wall did not mean an automatic entry into Europe, but rather a difficult and often contradictory dialogue with oneself and with the world.

This project is not a chronology. It is an attempt to look at post-Soviet trauma as an internal condition — to view the idea of freedom not as an accomplished fact, but as an unstable and complex process.

It is a reflection on how a country with fragmented memory, with inherited fear and hope on its shoulders, step by step enters the global discourse — not only as a participant, but as a subject with a voice.

“From Perestroika Until Today” is not a path of victories, but a path of endurance. It is not a straight line of progress, but a pulse between hope and disappointment, between a wall and a window, between a past that will not leave and a future that has not yet arrived.

And perhaps it is precisely in this interval — between the fall of the wall and the impossibility of fully walking away from it — that the present is born.

This project is about how Georgia has changed since Perestroika. How it stepped onto the international stage, moved closer to European standards, and became an active participant in the global dialogue.

It speaks to the recognition and understanding of global challenges — from ecology to humanitarian crises, from human rights to the development of education and culture. It is a reflection on a journey that began with hope — and continues to this very day.

“Art Panic”

Can art show tyranny, its nature and consequences? Can art show the panic that follows universal disillusionment and the impossibility of change? The main mood of perestroika was expectation, the expectation was about the destruction of the wall, the opening of borders, travel to other countries, the independence of one's country and the inevitable success. The rock movement celebrated its message with a hit of that period: Our bodies are waiting for changes, our hearts are waiting for changes, we are waiting for changes! The change began in words, sentences, their configuration.

Thoughts that slept under the rhythm of communist mantras appeared. At the time, it was said that the Soviet system was based on magic, it was atheistic, but it aimed to create heaven on earth. "Communists have no other goal than to achieve the happiness of all people living on earth. (Nikita Khrushchev. Program of the Communist Party. 1961.) Of the Perestroika publicist programs, the "Fifth Wheel" (Пятое колесо) was particularly popular - a project of Leningrad Television, which first It was aired on April 11, 1988. This program suddenly gained popularity and a large part of the perestroika society became its audience And in imitation of logical reasoning, a new myth was presented, according to which Lenin took hallucinogenic mushrooms and eventually turned into mushrooms. During the discussion, Kuriokhin spoke about the Mexican expedition, from where he had just arrived, and the texts of Carlos Castaneda were confusing to the audience He listened to the scientific hypothesis in full compliance with the rules of argumentation.

Kuryokhin said that Lenin was a mushroom and a radio wave at that, reasoning that the cut of the armor on which Lenin's famous speech took place matched the structure of the mycelium of the mushroom Amanita, and the word "ninelli" - read backwards "Lenin" - was the French name for a dish made from mushrooms. Excerpt from Sergey Kuryokhin's discussion: - ,, as for radio waves, - a person becomes a mushroom and a radio wave at the same time. do you understand Now I will tell you the main thing, where the case is leading me. I have absolutely convincing proof that the whole October Revolution was brought about by people who had been taking certain types of mushrooms for years. And these mushrooms, in the process of these people using them, completely expelled their personalities, turning people into mushrooms. That is, to put it simply, Lenin was a mushroom. And there was a radio wave mushroom with it, you know? "A few months after this tele-action, the Soviet Union was officially dissolved.

During the period of perestroika, a lot of people thought and talked about the model of tyranny by which the system that was already in a stable mode was managed. In 2017, at the Dutch festival in Amsterdam, the Stanislavsky Electro Theater performance was presented - Dmitri Kurliandsky's opera Octavia. Trepanation" directed by Boris Yukhananov. The libretto was based on Lev Trotsky's writings about Lenin (1924) and the play about the Roman emperor Nero, attributed to Seneca. On the stage is a huge head of Lenin surrounded by the skeletons of centaurs, this giant head with a laurel wreath like the Roman emperors moves on both sides of the Chinese terracotta army soldier Abby too With the presence of goliath and headless figures, - the image of tyranny, cruel and bloody. Where there is power, there is resistance, one is building a wall and the other is planning to destroy it. The governed society had to implement, probably in the same way, - replacing the communist mantra with the perestroika mantra. The Soviet man is happy, - repeated the Soviet mantra, - the perestroika man expects changes, opens the doors, opens the border, destroys the wall, or builds a new wall.

Khatuna Khabuliani, PHD Art Historian

“Chilly Winter Is Expected”

The installation “Chilly Winter Is Expected” is a profound existential and political metaphor that explores the inevitability of isolation and self-imposed limitation—both on an intimate, personal level and on the scale of global civilization. At the center of the work is a slow, deliberate gesture: the gradual bricking-up of a window. This window, traditionally a symbol of openness, light, breath, and communication with the outside world, becomes the focal point of an oppressive transformation. Its disappearance behind a rising wall of bricks reflects not only the closing off of physical space but the slow suffocation of inner freedom, imagination, and possibility.

This is not an act of violence inflicted from without—it is a conscious act of withdrawal. And in this, the installation reveals its core existential paradox: instead of facing uncertainty, seeking transformation, or embracing vulnerability, the individual—or society as a whole—retreats, fortifies, and freezes. It is a metaphor for psychological self-protection that mutates into a prison. In trying to avoid external threats, we turn inward, cutting off the very paths through which growth, contact, and change might arrive. What begins as preparation becomes paralysis.

The chilling metaphor of a “winter” is not seasonal. It is a state of being. A suspended time in which everything slows down and congeals. “Chilly Winter Is Expected” speaks to the fear of the future—of the unknown, of others, of instability—that drives both individuals and nations to close their borders, erect walls, and seal their vulnerabilities rather than confront them. It becomes not just a symbol of inner stasis but a mirror of global tendencies.

At a deeper level, the installation carries a prophetic warning. The gradual concealment of the window foreshadows a world sliding into isolationism. Open spaces—once symbols of cooperation, dialogue, migration, and mutual understanding—risk becoming relics of the past. The window becomes history. As countries increasingly turn inward, reinforcing not only territorial but ideological and emotional boundaries, a new form of stagnation emerges: one that masquerades as safety but breeds fear, mistrust, and decay.

“Chilly Winter Is Expected” is not simply about the loss of light—it is about the loss of direction. It invites viewers to question whether we are witnessing a protective gesture or the architecture of our own entombment. Are we shielding ourselves from the cold, or building the conditions for an even deeper freeze? The installation captures the existential tension between survival and transformation—between preparing for crisis and becoming the crisis.

Ultimately, it serves as a stark reminder: the walls we build to keep danger out may, in time, keep us trapped inside. And if we are not careful, we may awaken one day to a world where every window has become a wall—and the winter, once expected, never ends.

“From Perestroika Until Today”

The installation “From Perestroika Until Today” serves as a metaphor for a frozen reality where both society and the state are stuck on the path to progress. The existential depth of this work lies in the feeling of helplessness and the inability to overcome one’s own limitations, both personal and societal.

The door itself, as a symbol of possibility, is connected to the idea that every person strives for progress and a better future. An open door is usually associated with an exit from difficulties, but here it becomes an illusion—behind it is a brick wall, reminding us that the promises and hopes for development after the collapse of the Soviet Union have remained unfulfilled.

The brick wall is not just a physical barrier; it symbolizes invisible boundaries within us: social, political, and existential limitations that prevent us from moving forward. A person who confronts this obstacle finds themselves in a state of constant waiting, where the desire for exit and progress is blocked by an impenetrable wall, condemning them to repeat the same questions about the meaning of existence.

The existential fear in this installation lies in the realization that progress is not only a material process but a spiritual one as well, and its absence is a frozen moment in time, an eternal “today” in which we are stuck.

The works from the project "From Perestroika Until Today" were exhibited:

2019 Group exhibition "From Perestroika Until Today" National Research Centre for Georgian Art History and Heritage Preservation

2023 Personal exhibition "Lost Signal Tracking" RUARTS GALLERY

2023 Film screening “Chilly Winter Is Expected” Swiss Embassy in Russia

2024 Culture Week Tbilisi "Lost Signal Tracking" Factory Tbilisi

2024 Group exhibition "New Faith" Arcane Space museum of modern art. Tbilisi, Georgia




wall of confrontation in human consciousness / great unification

“Wall of confrontation in human consciousness”

The Wall of Confrontation is not built of bricks or concrete — it is an intangible yet deeply embedded structure within human consciousness. It is a mental and emotional boundary, shaped by invisible forces: nationality, religion, territorial divisions, political ideologies, social hierarchies, and family expectations. These divisions do not merely exist outside us — they are internalized. They become part of our mental architecture, subtly drawing lines between “us” and “them,” between belonging and alienation, between right and wrong.

Society’s unspoken aim, throughout history, has been to regulate the individual’s consciousness. It cultivates a mass mentality, where personal difference is treated as deviance, and deviation is seen as a threat. Those who think differently, feel more deeply, or question the prevailing norms often find themselves in a psychological prison. They do not face visible chains, but rather invisible resistance — rejection, misunderstanding, isolation. They struggle, revolt, try to escape the wall by rejecting societal norms, only to be pulled back again by the powerful gravity of identity and the longing to belong.

Humans are social beings. The instinct to survive within a tribe is ancient and primal. But every tribe has its rules, its unspoken contracts, its leaders and taboos. To remain inside the group, one must often sacrifice a part of one’s truth. The fear of exile is not just physical; it is existential. Thus, a paradox arises: to survive socially, one may have to die internally — a little at a time.

The most painful confrontation arises when two conflicting systems — worldviews, belief systems, moral codes — force the individual into a binary choice. Often, neither side resonates with one’s authentic self, yet the illusion of choice remains. The wall rises precisely in that moment: not just as a result of conflict, but from the illusion that these are the only options. We are conditioned to believe there is no third way, no silent exit through the middle.

But the wall is not merely external. Its true origin is within the human psyche. All outer confrontation is a reflection of inner contradiction. We are torn between the safety of belonging and the freedom of authenticity. To take a new path, to invent a third option, requires courage — and that courage is usually met with fear. The unknown is terrifying. The possibility of freedom is often paralyzing. Thus, novelty — the very thing that could set us free — pushes us back toward the familiar wall.

True freedom is not the absence of limitations, but the ability to choose beyond conditioning. Freedom begins when a person starts to make decisions not from fear, not from habit, not from inherited structures, but from a space of inner clarity. Yet even this clarity is threatened by inner emotions — guilt, shame, doubt — which are no less binding than external oppression.

The Wall of Confrontation is both the boundary and the mirror. It reveals the architecture of our inherited mind. And only by seeing it clearly can we begin to dismantle it — not by jumping over it, but by understanding how it was built in the first place.

“Great Unification”

The installation “Great Unification” reflects the deeply existential need of humanity to seek a higher idea, power, or truth around which different people or structures unite. The light in the center is a metaphor for the higher force that everyone present strives towards. This light is not just a physical object; it symbolizes what makes interaction, communication, and unification possible.

The various chairs arranged around the light symbolize unique structures or individual human entities, each with its own form, history, and meaning. Despite their diversity, all these elements are united around the common source—the light, which gives them new meaning and purpose. In this act of unification, different and seemingly mismatched objects come together to create something greater than just the sum of its parts. It becomes a collective striving for unity in the face of something grand, something that transcends individual differences.

The shadows cast on the walls appear significantly larger and more imposing than the chairs themselves, symbolizing the significance and greatness that comes with uniting around a higher idea. They show that by uniting around a common source of truth or power, we become something much greater than merely separate parts.

The existential concept of this work lies in the idea that the light is like the higher meaning of life, an idea that we all strive for. However, in order to experience this meaning, we must unite and direct our efforts toward the common light. Without this light, we remain mere shadows, condemned to disconnection and fragmentation.

“The Great Unification” emphasizes the importance of a higher force in human life, which gives us a common goal and compels us to overcome internal and external barriers.

The works from the project "Wall of confrontation in human consciousness" were exhibited:

2019 Solo Exhibition “Wall of confrontation in human consciousness” “Literature museum” Tbilisi, Georgia

Space Frozen In Time

“Space Frozen In Time”

“A space frozen in time” is a metaphysical projection of halted existence, where time loses its flow, and being transforms into eternal stasis. In this state, the distinction between past, present, and future vanishes: everything compresses into a single, silent, and immobile moment. This is not merely a pause in time but its complete nullification—a freezing of life at a point where movement becomes impossible, and every attempt to escape this stasis leads back to the same place, the same fears, and the same emptiness.

In this space, the individual is deprived of the possibility of development and change, leaving no room for perspective. Existence, frozen in its stasis, becomes a prison without doors or windows, where the past cannot be rewritten, and the future never arrives. In this frozen reality, the individual is condemned to confront themselves in absolute solitude, where the absence of time leaves only inner emptiness and the awareness of one’s own limitations.

When time stops, anxiety does not disappear but becomes a permanent companion of existence. This is an anxiety without release, frozen in an endless repetition of the same moment, where the anticipation of change turns into self-deception. The silence of this space is deceptive: beneath its surface lies tense expectation, which will never find resolution. The individual is trapped in an eternal cycle of anxious waiting, where every moment carries the memory that no change will come.

In “a space frozen in time,” the individual both exists and does not exist. Their presence here is devoid of meaning, as there is neither purpose nor direction. In this state, the sense of belonging to any time or place dissolves into infinite stillness. It is a paradoxical existence where the person remains present in the world, but the world does not respond to their existence.

Frozen space is not merely a metaphor for loneliness but a radical form of isolation, where the individual is freed from all obligations to the world, yet also deprived of any possibility of engaging with it. It is a state where every act of understanding or movement becomes meaningless, leaving only a silent inner monologue. In this absolute isolation, freedom becomes a burden, as it brings the realization of complete responsibility for one’s own meaningless existence.

The emptiness and silence present in this frozen space are not forms of absence but modes of existence. This silence generates inner tension because it does not bring oblivion but only emphasizes the impossibility of movement or change. In this emptiness, the individual is stripped bare, left without reference points or distractions, forced to confront their own fear and helplessness.

“A space frozen in time” is not merely a visual or philosophical experiment but an invitation to reflect deeply on the nature of time, being, and inner freedom. In this state, the viewer must accept that life often lacks direction and realize that this absence of movement is part of the human experience. Frozen time becomes a moment of truth, where the individual, left alone with their anxiety and meaninglessness, can either drown in it or discover a new way of being

This concept reminds us that the sensation of frozen time creates the illusion of eternity, but behind this illusion lies the reality of finitude. The frozen space holds a paradox: by accepting the inability to change the course of time, the individual may find peace and acceptance. This is not surrender to life but a recognition that true freedom lies not in moving forward but in learning to be fully present, even in a moment that feels frozen and silent.

“A space frozen in time” is an existential meditation on the fragility of being, the paralysis of time, and anxiety trapped in an endless present. It explores the limits of freedom, loneliness, and the inner dialogue that continues even when all external movement has ceased.

Video Work “Who Are You?”

The video work “Who Are You?” offers a visual immersion into the depths of existential inquiry through the image of ocean waves glimmering with sunlight. Here, the sea is not merely a background but a symbolic space reflecting the nature of inner search, the fluidity of identity, and the elusive self. The question “Who are you?” becomes an act of self-interrogation, an attempt to grasp the essence of one’s being amid the continuous flow of thoughts, emotions, and experiences, much like the ceaseless movement of waves.

The image of the sea symbolizes the depth and infinity where one seeks to find oneself. Like the waves, identity is in constant motion, never fixed in one place. The sunlight shimmering on the water’s surface is fragmented and fleeting, much like thoughts that come and go, preventing a cohesive understanding of oneself. The movement of waves becomes a metaphor for inner dialogue, where each answer instantly dissolves into a new question, creating an endless loop of self-exploration.

The light dancing on the waves gives the illusion of form and structure, but this form vanishes in the next moment. Similarly, any answer to the question “Who are you?” is temporary and elusive, preventing the establishment of a stable identity. The sea, in this context, suggests that self-understanding will always remain incomplete and fragmented. One is left in a situation where every attempt to answer this question deepens its irresolvability.

The question “Who are you?” does not imply a final answer. It resembles a journey where each moment offers new fragments of understanding that immediately disappear, like sunlight glinting off waves. This endless motion emphasizes that self-knowledge is not a fixed goal but a continuous process with no end. In this process, one becomes like the sea—ever-changing, multi-layered, and infinite.

Silence plays a crucial role in this work, becoming an intrinsic part of the visual narrative. It not only emphasizes the question “Who are you?” but also creates space for inner reflection. It offers no ready-made answers, inviting the viewer to delve into the question themselves. In this silence, the viewer confronts their own fears, doubts, and hopes, navigating the waves of their inner life.

“Who are you?” is not merely a question but an invitation to embrace uncertainty and change as fundamental aspects of human existence. The sea reminds us that a definitive answer to this question is impossible, but within this endless search lies freedom. To accept one’s elusiveness and become part of an infinite process is a form of true self-understanding.

The video work “Who Are You?” is a deeply existential meditation on the search for self and the illusory nature of identity. It invites the viewer to enter a meditative state, where the sea reflects the inner world, and each glimmer on the waves becomes a metaphor for thoughts and emotions. The answer to the question “Who are you?” remains elusive, but the process of asking it becomes an act of inner freedom and acceptance of the endless nature of being.

Video Work “Where Are You?”

The video work “Where Are You?” is a visual meditation, where the image of the sea with sunlight reflected on its surface becomes a metaphor for the search for connection and presence. The question “Where are you?” is not only a call to someone outside but also a deeply existential inquiry directed inward. It expresses the desire to find someone or something seemingly lost, whether an external connection or an inner sense of self.

The sea in this work symbolizes an infinite space of possibilities, but its waves embody the image of an elusive answer. Just like the shimmering light on the surface of the water, the presence we seek feels close yet constantly shifts, dissolves, and vanishes. This play of light on the waves reminds us that answers to essential questions are never fixed or final, and each moment of understanding is swiftly replaced by another search.

“Where are you?” can be addressed to another person or to oneself. It expresses a state of loss and disorientation, where the individual loses connection with that which gives life meaning. This question holds an expectation of a response, a hope for someone’s presence, while also carrying the fear that no answer will come.

The reflected sunlight on the water symbolizes fleeting flashes of hope and awareness. Light offers moments of clarity and presence, but like all moments, it quickly slips away. This continuous dance of light and water emphasizes the elusiveness of what we seek, creating a tension between hope and anxiety, between moments of clarity and deep uncertainty.

The silence present in this visual narrative creates room for reflection and inner dialogue. The sea, like a silent interlocutor, leaves us alone with the question, compelling us to confront our own fears and expectations. In this silence, we experience both presence and absence, as if someone or something is always on the edge of our perception but never fully emerges.

This work conveys the idea that searching is a state without an endpoint. The question “Where are you?” never receives a final answer because the process of searching itself becomes part of human existence. By embracing the elusive nature of life and its constant motion, we realize that meaning lies not in finding definitive answers but in the journey itself.

The video work “Where Are You?” is an existential reflection on the search for meaning, connection, and presence in a constantly changing world. The sea and its reflections serve as a metaphor for how we seek answers only to find fleeting glimpses of understanding. Through this continuous motion of light and water, the work invites the viewer to embrace uncertainty as an inherent part of life and to discover freedom in the process of searching itself.

Disorientation of collective visions

“Disorientation of collective visions”

Zura Arabidze’s project offers visitors a field of existential philosophy, where he deals with the conditions of human existence: individual perception of the world, freedom and possibility of choice. Individual perception of the world is a complex and controversial process with its conflicts and subjectivity, and the contradiction is always accompanied by new energy, which can turn into an artistic form.

Changes in personal space, individual experience, and psychological balance are inevitable when confronted with the societal vision, “common sense”, or established rules. The individual worldview is formed as a result of complex processes and is never unshakable fixture in life - it always undergoes stress with different manifestations of the chaos existing outside, instability.

Zura Arabidze’s multimedia installation is a visualization of the complex relationship of personal and public aspects. By contrasting colors, the author conveys the theme of contrast, which can grow to conflict. It rests on the foundation of monochrome art, where each color is independent and lively, dynamic fixture in life, while the contrasting of colors does not mean just enmity — an individual color can be identified with the life of a person who is in perpetual interaction with the world, with other consciousness, and this process never ends.

The dramaturgical scheme of the installation elaborates several main themes: meeting of the barbed wire and the mirror surface represents symbolically the desire of consciousness for freedom and obstacles created by dogmas along this path. The space represents the reality overloaded with video images, information, the introduction of new values ​​and the accompanying pressure, while the trees in the metal structure indicate an environmental disaster, the absence of future.

The exposition is interactive in the sense that it offers the visitor a special space for reflection on the personal and public aspects, for rethinking and expressing one’s own experience.

Khatuna Khabuliani, PHD Art Historian


“The Space of Impossible Liberation”

“The Space of Impossible Liberation” explores the fundamental paradox of human existence: the yearning for freedom, which inevitably collides with both internal and external limitations. At the heart of this paradox lies the existential conflict — the struggle between the desire to break free from imposed boundaries and the impossibility of escaping the very structures that define existence itself.

This concept embodies a state where an essence — whether a person, an idea, or a natural element — strives for transcendence, yet every step forward only reinforces the awareness of its entrapment. The branches of trees, frozen within a metal grid, symbolize the attempt to grow and expand, but their movement is confined within a closed space. Just as human consciousness yearns for the infinite, it is confronted by rigid boundaries imposed by both its own nature and the external world.

The idea suggests that freedom, as an ultimate goal, remains forever elusive, and every effort to achieve liberation only results in new forms of confinement. Even in the most open spaces, a person remains imprisoned by beliefs, fears, and expectations. Like a tree whose roots reach deep into the earth but can never break through its surface, our consciousness is trapped within the limits of time, memory, and the uncertainty of the future.

“The Space of Impossible Liberation” invites contemplation of the notion that true freedom may not lie in the destruction of boundaries but in accepting their existence. Perhaps the only liberation is in the realization that all limitations are inherent to being, and attempts to transcend them merely create new forms of dependency. In this sense, the installation becomes a metaphor for life as an endless cycle of struggling against invisible walls that we ourselves construct.

Each line of the metal grid, each curve of the branches within this work, points to the tension between the artificial and the organic, the static and the dynamic, the eternal and the fleeting. The tree reaches upward, but the grid dictates its geometry; consciousness dreams of the infinite, but it confronts the finiteness of the body and time. This space becomes a symbol of the inner conflict that will never find resolution, as liberation is both impossible and necessary at once.

Thus, “The Space of Impossible Liberation” invites reflection on the nature of freedom itself. It suggests that perhaps our true freedom lies not in escaping limitations but in the ability to live and grow within them, finding meaning in each moment and every twist along the path.

Installation; The Space of Impossible Liberation /mixed media 400x250x4500 cm/

The works from the project "Disorientation of collective visions" were exhibited:

2018 Solo exhibition "VERSUS" “museum of modern art” Tbilisi, Georgia

Mass Hallucination of Still Modernity

“Mass Hallucination of Still Modernity”

In the age of nanotechnology and wireless networks when Internet speed boggles the imagination and Internet access is possible from nearly any place in the world users are still facing the loading indicator. This pop-up sign of the looped motion is becoming a certain ouroboros of modern time and being some kind of irritant, endlessly intruding in our daily life. It is the sign which creates the situation of expectation with no limited continuum and makes users even more angry.

This already strong integrated in modern cultural memory symbolism is the subject of research in the new series of works by Zurab Arabidze. In Mass Hallucination of Still Modernity series artist’s strict geometric minimalism transforms in medial minimalism criticizing modern society, which is now standing at the stage of “pending better existence” according to Arabidze.Taken as a basis user's graphic interface of a computer program – throbber, as a digital sign, becomes a symbol of a new digital vision. Continual data downloading in Arabidze's video art arises anxious feeling of infinite expectation and at the same time reveals tension between observer and observation process.

A gradual mutation of computer interface appears in glass blocks series, where faceless particle with clear information code, multiplied in 24 parts, continues the theme of endless expectation of complex or changing image appearance on the the one hand, and on the other - this sketch of initially digital sign and its static fixation on the glass block, creates a new substantiality of throbber as one of the most important symbols of our age.

Only during the transferring process of information code to the plain surface it ceases to be a non-substantial symbol of accomplishing a definite program. Throbber becomes a target for observation and its stadial alteration, i.e. mutation, may be explored, therefore the process is becoming a happening and being narrative in nature.

Mutagenic conjunction of digital with material and disbanding in a diversity of these diametrical modernity constructions – that is the main Arabidze’s research subject. The artist shifts focus from loading to its step-by-step operation, creating “hallucination” of activity as a result.

Impossible desire of the viewer to see something certain and apparent behind the iconic image reveals a problem of a digital era man's perception, which means that visual function is no longer an important cognitive tool, but the tool of perception, that is in its turn leads the observer to the world of hallucination. Visual disorientation reached its height in a 3D-variation. Sculptural objects from the series Mutation #404 embody hallucination of the viewer, appearing from the sense of texture and physical form. Innhomogeneous surface of represented works seems like natural organic growth, resulted from mutation, not by artificial means. The feeling of some flexibility causes quite certain associations - capacity of material for mutation, but is it actually true?

Ekaterina Novokshonova.

“Mutation #404”

The “Mutation” series explores the dynamic transformation of matter and mental space, where every change results from the inevitable interaction between the internal and external. These works evoke the surface of a cosmic landscape or biological tissue subjected to both destructive and creative processes. They embody the eternal cycle of mutation, where the old gives way to the new, and the familiar transforms into the unknown.

The material on the canvases symbolizes movement and change—the fundamental essence of all existence. Within each texture lies the story of transition: smoothness becomes rough, emptiness fills, and chaos takes form. This process of mutation emphasizes the instability of forms and meanings, suggesting that nothing remains unchanged—not matter, nor human identity.

The black color of these works absorbs light like memory, retaining the past while simultaneously suppressing it in the depths of consciousness. The physical structure of the paintings evokes associations with lava frozen in a moment of transformation, reminding us that all processes—both natural and mental—are continuous and in flux.

The works in the “Mutation” series not only visualize physical changes but also delve into the process of personal mutation. We are in constant transformation—through experiences, losses, and emotions. These changes are not always visible, but they shape our internal structure, turning us into someone new. These paintings serve as a metaphor for the mutability of identity and memory, illustrating their fluid transition from one state to another.

Each textured surface speaks of struggle, resistance, and acceptance of change. The process of mutation may evoke anxiety and fear, but it also offers renewal and opportunity. Like matter, humans must undergo destruction and chaos to find new forms of existence.

Just as the cells in our body continuously renew themselves, the art in the “Mutation” series embodies the act of creation through destruction. These works resemble an observation of a microscopic world—a world of cells growing, mutating, and dying to make way for the new. In this way, they bridge biological processes and artistic intuition, emphasizing the unity of nature and creativity.

The “Mutation” series challenges the viewer to consider whether we can accept the inevitability of change and see it as more than just destruction. It invites us to rethink our relationship with transformation and loss, as it is through these processes that we gain new understandings of ourselves and the world. Mutation is not an end but a beginning—a possibility to become someone or something new.

The “Mutation” exhibition is a journey into a process that is both destructive and creatively fruitful. It is an invitation to reflect on the idea that mutation is not merely change but also movement forward, a path to renewal through acceptance.

The works from the project "Disorientation of collective visions" were exhibited:

2014 ARTISTERIUM 7 Tbilisi Annual International Contemporary Art Exhibition and Art Events. Georgia

2015 Group exhibition "Abstraction" gallery "Container" Tbilisi, Georgia

2016 Solo exhibition "Mass Hallucination of Still Modernity" "RUARTS gallery" Moscow, Russia

2017 International art fair "Art Riga" gallery "Caravan gallery" Riga, Latvia

Invisible fear of loneliness

“Invisible fear of loneliness”

The project “Invisible Fear of Loneliness” unfolds as a poetic investigation into the nature of solitude—not as absence, but as a profound existential presence that shadows human life. It speaks not simply of being alone, but of the invisible, silent fear that this state may be eternal. This fear, unspoken and often unacknowledged, becomes the backdrop of human experience—a subtle, yet constant undercurrent shaping our desires, choices, and connections.

At the center of the concept is the metaphor of quantum entanglement, drawn from the mysterious behavior of light particles. In physics, entangled particles remain connected regardless of distance; their states are inseparable, even when light-years apart. This strange, invisible thread mirrors the human longing for a connection so deep, so essential, that time and space cannot sever it. The particles in the project become metaphors for human souls—forever seeking, forever reaching out through the vast sea of existence for their lost or destined counterpart.

The sea, in this context, is not just a natural element, but a metaphor for the cosmos of human experience—a boundless, liquid space where identities drift like photons. The surface of the ocean is where this metaphysical drama unfolds: a white particle of light breaks through the darkness, not merely as a physical phenomenon, but as an emotional surge—a desperate movement driven by the yearning to escape the gravity of loneliness. The speed of light becomes symbolic of the intensity of this human desire. The photon becomes a symbol of every person’s longing to be understood, to be seen, to be met.

Yet this pursuit, no matter how fast, is haunted by uncertainty. Even as we move toward others, toward love, toward presence, we remain enclosed within our own inner space. The fear explored in this project is not only about the fact of being alone, but about the idea that connection might be impossible—that despite all our motion, despite all our light, we may never truly be known.

The work also questions the nature of time and expectation. Loneliness is rarely unbearable in the moment—it becomes unbearable when projected into the future, when the imagination fills the empty horizon with the possibility of endless solitude. The fear is anticipatory, prophetic, existential. It is a fear not of silence, but of permanent silence; not of absence, but of unchanging absence. This is what makes the fear invisible—it is not always expressed in language, not always visible in behavior, but it pulses beneath the surface of modern life.

Within this project, light is both literal and symbolic. It stands for consciousness, movement, hope. It also reflects the fragility of the human condition: luminous, ephemeral, endlessly moving forward. The ocean becomes not only a space of reflection, but of tension—where the collision between vastness and desire creates a metaphysical storm.

“Invisible Fear of Loneliness” is not a cry for help, nor a simple lament. It is an attempt to map the invisible architecture of longing. It does not offer resolution or comfort, but seeks to expose the quiet mechanics of human seeking—the invisible lines that connect us, or fail to. It invites the viewer to consider that perhaps we are all particles of light—moving, colliding, entangled not by will but by nature—each carrying the secret hope that somewhere, someone else is moving too, moved by the same fear, drawn by the same light.

And in that shared motion, even without meeting, there may be a fragile form of connection—an unspoken solidarity, an invisible communion across the sea of being.

The works from the project "Invisible fear of loneliness" were exhibited:

2014 Group exhibition "Black sea" center for contemporary art "CAC 41N/ 41E" Batumi, Georgia

2016 COSMOSCOW International contemporary Art Fair. Moscow, Russia

2016 Publication CHRISTIE’S contemporary art auction “off white” Moscow, Russia

2016 Group exhibition "The theory of waves. Production of spectators" Tretyakovskaya Gallery. Krimsky Val 10. Moscow, Russia

2017 "Photo Basel" international art fair. Basel, Switzerland

2017 Publication Forbes. Preview Photographs That Will Appear At Photo Basel

2018 International art fair "Tbilisi Art Fair" "Tbilisi Photography & Multimedia Museum" Tbilisi, Georgia

Black Hole in the Space of Consciousness

“Black Hole in the Space of Consciousness”

Consciousness is not merely a clear light of reason but an infinite field where thoughts, experiences, and memories are born. Yet deep within this field lies a “black hole” — a space where unacknowledged desires, fears, and shadows we prefer to ignore are drawn. The “Black Hole in the Space of Consciousness” symbolizes the internal collapse that occurs when a person confronts the inexplicable void within themselves.

The black hole in the space of consciousness is a metaphor for moments when the mind consumes itself. It is the hidden realm within us where logic and rationality lose their power. We fear these places because they point to our vulnerability and insignificance in the face of infinity. It is a plunge into an existential void, where the division between “self” and “other” dissolves, and time becomes a still, boundless silence.

This black hole is a meeting point with our deepest fears — fear of loneliness, oblivion, and meaninglessness. Within it, we face questions without answers. Can we accept that reality does not always lend itself to explanation? Are we ready to realize that beyond our familiar thinking lies an abyss that defies rationalization?

The black hole is a paradoxical zone where time ceases to be linear. In this void, the past, present, and future coexist simultaneously, blending into an endless moment. Events and emotions we tried to forget continue to exist in this hidden space, surfacing unexpectedly. We are not only the people we seem to be in the present but also the sum of our shadows and forgotten memories, circling in the vortex of consciousness.

This inner emptiness offers the potential for transformation. Only by confronting the chaos and darkness within can we understand that identity is not a static structure but a constant movement between light and shadow, awareness and oblivion. The paradox is that, by facing the void, a person finds the possibility of rebirth and an expansion of consciousness.

The black hole is not the end but a beginning. It symbolizes not only the loss of meaning but also the opportunity for its regeneration. In moments of existential crisis — when the old structures of consciousness disintegrate — a new space for perception opens. Here, a person gains freedom from imposed social expectations and can create a personal reality unbound by fear of the unknown.

Within this black hole lies a truth: we will never fully understand ourselves or others. Yet this realization need not lead to despair. On the contrary, it invites us to embrace the unknown as an essential part of our existence. The black hole becomes an ally, teaching us humility before the vastness of the unknown and inspiring us to pursue an endless search for meaning.

This concept encourages the viewer not to fear descending into their own internal black hole — the aspects of themselves that seem frightening or incomprehensible. We cannot truly find ourselves if we avoid the shadow. Only by confronting the void do we understand that it is part of us, and through it, we can attain the fullness of being.

“Black Hole in the Space of Consciousness” invites us to embrace life’s paradox: that meaning arises only in the absence of meaning, that light exists only in the presence of darkness, and that presence is only possible against a backdrop of emptiness. In this context, our inner black hole becomes not a source of fear but a space for endless self-discovery, where we do not find definitive answers but gain the capacity to ask eternal questions.

F63.9 Psycho-emotional disorder

“F63.9 Psycho-emotional disorder”                                                                 

“F63.9” explores the psychological obsession with love — a state where love ceases to be a mere feeling and transforms into an all-consuming need. The title, referencing a diagnostic code, positions love as a form of mental dependence, where the mind becomes trapped in cycles of desire and longing, creating a continuous loop of unmet needs.

Each artwork functions as a mantra, where the repetition of simple and sincere phrases generates a hypnotic rhythm. Words are multiplied, endlessly repeated across the surface — a constant refrain embodying the concept of obsessive thoughts and emotional programming.

This repetition acts as a mantra not only on the conscious mind but penetrates every cell of the body. The essence of this practice lies in embedding the meaning of love so deeply that it permeates all levels of the psyche, influencing the perception of the self as a whole. The concept suggests that, just as we program machines, we can also program ourselves. Every repeated phrase shapes within us a core of desire, longing, and connection.

At the heart of this concept lies the idea of transformation. We are not static but fluid, continuously shaping and reshaping ourselves through the thoughts and emotions we cultivate. Love, in this context, becomes both a tool and a goal — a force capable of directing our personal evolution. The art invites viewers to participate in this process, to absorb the repeated messages, and through them, initiate change within themselves.

The repetitive phrases, like endless prayers, embody the paradox of longing: a need fulfilled in the act of expression yet remaining insatiable, always awaiting the next repetition. This tension reflects the duality of human existence — between what we have and what we seek; between presence and absence; between connection and solitude.

Ultimately, “F63.9” portrays love as a universal constant, a fundamental force transcending time and space. It hints that love is not merely an external experience but a state that can be cultivated from within, programmed into the core of our being. Just as we change ourselves, we transform the world around us, crafting a reality shaped by the love we choose to manifest.

This exhibition invites viewers not only to observe but to engage — to read, repeat, and interact with the phrases, allowing them to resonate deeply within. In doing so, each participant becomes both creator and subject, part of an infinite flow of love that transcends time, altering both personal and collective consciousness.

Book “I Love You”

“I Love You” is more than just a text. It is an endless act of self-discovery and a reminder of the complexity of love, which transcends ordinary perceptions of emotion. At the core of this book lies a paradox: a phrase that is both banal and sacred, everyday and transcendent. Each of the 63,468 repetitions of “I love you” represents an attempt to capture the fleeting, to transform a transient feeling into something permanent, as if love could be contained and preserved on the pages.

Love is presented here as a meditative cycle, where each repetition is a step deeper into oneself and into the meaning we often forget. The book invites the reader to reflect: Are we truly capable of love, or have our confessions become automatic, devoid of authenticity? What does it mean to say “I love you” not once, but again and again? In each repetition lies a new attempt to be heard, accepted, and shared.

The blank first page is an invitation to dialogue. It serves as a space for personal expression, a chance to contribute to the infinite text of love. This page reminds us that genuine words of love require not only acceptance but also active expression, even if doing so means confronting the fear of vulnerability. Thus, the book becomes not a finished object, but an interactive process, where each reader continues its story by bringing their own version of love into it.

On an existential level, the book speaks to our longing for connection. It draws attention to the fundamental loneliness of the human condition—our need to be understood and heard in a world where words often lose meaning. Every “I love you” in this book is not just an expression of emotion but a cry into the abyss, a desire to bridge the gap between “I” and “you,” between oneself and the other. It is an attempt to turn love from an ephemeral experience into an eternal constant, present in every moment and within every cell of our being.

The repetition of the phrase, like a mantra, becomes an act of programming the mind and body. It reminds us that love does not simply happen to us—it is something we cultivate. Just as we program machines, we can program ourselves through repetition and practice. The book offers a reimagining of love as a process we consciously choose to embody every day, in every action and every word.

In the end, “I Love You” is an attempt to capture a moment of eternity. In a world of constant change, love becomes an anchor, grounding us in the present. It is not merely an emotion but a way of being in the world, a way of engaging with reality. The book urges us not to hide love but to make it visible and tangible because love is the connection that allows us to feel alive, linked to others, and in tune with ourselves.

The works from the project "F63.9 Psycho-emotional disorder" were exhibited:

2015 Group exhibition "Batumi grafikart festival" center for contemporary art "CAC 41N/ 41E" Batumi, Georgia

2016 Solo exhibition "F 63.9" "Dimitri Shevardnadze National Gallery" Tbilisi, Georgia

2016 International Contemporary Art Festival "Caravan Art Forum" Kutaisi, Georgia

2021 Solo exhibition "F 63.9" "ATINATI Foundation" Tbilisi, Georgia

They Woke Up in the Future / Parallel Memory from the Past

“They Woke Up in the Future”

“Parallel Memory from the Past”

The past and future do not exist as opposite points on a timeline but as parallel realities intersecting within consciousness. Waking up in the future is not simply a journey into an unfamiliar time, but an encounter with one’s own past, which coexists with the present. Memory becomes paradoxical: it doesn’t store the past as a completed fact but creates alternative versions of reality, where past events continue to live and influence the present.

In this state, the person is no longer bound to a linear perception of time. The past and future overlap, creating intersections where it is impossible to distinguish where one ends and the other begins. Waking up in the future, the character encounters moments from their past, existing like reflections trapped in repetition. These memories seem to be broadcast from a parallel universe, suggesting that time doesn’t move forward but multiplies in endless layers.

Awakening in the future becomes a metaphor for the sudden realization that the past has never disappeared—it is merely hidden in the depths of consciousness, ready to resurface at any moment. In these parallel memories, the characters encounter forgotten fears, missed opportunities, and unfulfilled desires. It raises the question: what part of what we remember was real, and what is the creation of our imagination?

The future in this concept offers no promise of novelty or progress—it is filled with the ghosts of the past, which continue to shape actions in the present. Every decision becomes an echo of a once-made choice. Parallel memory forces us to reflect on how much our visions of the future are shaped by what we have already lived. This state resembles a trap: there is no escape until one recognizes that the present is merely the illusion of a moment where all temporal planes converge.

When the characters wake up in the future, they encounter themselves, but altered by a past that no longer exists. The self becomes fragmented: who are we now if our “I” already exists in parallel temporal realities? Awakening becomes a symbol of the loss of control over time and identity. It no longer brings clarity but only deepens the sense of disconnection.

“They Woke Up in the Future /Parallel Memory from the Past/” explores how our perception of time and memory shapes reality. This concept suggests that the boundaries between past, present, and future are merely constructs of consciousness. We do not wake up in the present or future but in a space where all memories, fears, and expectations exist simultaneously, creating infinite parallels of reality. In this space, we are always searching for awakening, only to find new versions of ourselves.

Video Work “The Past Returned into the Future as the Hallucination of Childhood’s Physical Pain in the Present”

The boundaries between past and future blur, transforming into illusory reflections of one another, where the present becomes the stage for an unconscious drama. In this concept, the past does not return as memory but as phantom pain—physical and emotional trauma experienced in childhood that resurfaces in new forms within the present. The hallucination of pain serves as a metaphor for how unresolved traumas from the past intrude on the present, distorting the future.

Here, time does not flow linearly. The past does not remain behind but permeates through the layers of time, becoming part of what has yet to occur. We are not only unable to leave the pain behind—it transforms into new manifestations, becoming part of the future. In this context, childhood’s physical pain is not merely a bodily suffering but a preserved memory that, finding no release, mutates into a hallucination in the present.

This hallucination is not merely a symptom of neurosis but a cry from the inner self, trying to reassemble fragments of a lost identity. In childhood, pain often defies explanation but leaves imprints on the body, like a code that reactivates in the future. Thus, the pain experienced in the past becomes a means of understanding the present—a way to acknowledge that the suffering we endured remains part of who we are today.

When the past invades the future through the lens of pain, distinctions between what is real and what is imagined dissolve. Hallucination is the psyche’s response to unresolved trauma, distorting our perception of the present. Unaddressed conflicts and childhood experiences generate illusory scenarios. In this sense, hallucination becomes a way for the mind to rewrite reality, seeking a return to an initial point where healing is still possible.

Pain serves as a form of memory that defies oblivion. It remains imprinted on the body and mind, accumulating as traces of lived experience. Every new encounter with pain is not merely a moment of suffering but a retrospective flash that links all past and future pains into a single stream. Pain becomes the language of time, reminding us that even the deepest past can find its way into the future.

“The Past Returned into the Future as the Hallucination of Childhood’s Physical Pain in the Present” is a concept that reveals how unresolved emotional and physical traumas continue to shape our perception of life. It reminds us that we cannot fully escape the past—it will always find a way to surface, whether in the body or in the mind, whether as memory or hallucination. And this process is never complete: it unfolds in every moment, where the present becomes a collision ground between what was and what is yet to come.

ARCHmetamorphizm

“ARCHmetamorphizm”

The works of the ARCHmetamorphizm project embody the refraction of the author’s perception of architectural elements through the lens of photography. Architectural structures are transformed into whimsical forms, as if small fragments of glass, turned by a kaleidoscope, create a new geometric reality. In this process of metamorphosis, the original meaning of the structures is lost; what were once apartment buildings, office complexes, or historical monuments are now abstract elements, absorbed into the aesthetic vision of the artist.

As these architectural components lose their individuality, they enter the author’s playful interaction with space, generating mosaics in which the seeming randomness of chaos becomes organized into geometric patterns. Objective reality ceases to be perceived as such, instead taking on the appearance of artistic renderings: outlines of human chromosomes, fragmented media player patterns, or visualizations of a virtual matrix—where countless numbers rush across the screen, giving rise to a new aesthetic dimension.

The objects captured by the artist are transformed from functional buildings into elements of a conceptual urban planning scheme. The photographs, now liberated from their architectural identity, become components of a construction set, capable of being rearranged into endless configurations for new landscapes. Each fragment becomes a piece of a broader design, a versatile module that can be recontextualized into future urban concepts.

Through ARCHmetamorphizm, the project explores architecture beyond its utilitarian and historical functions. It shifts these elements into an abstract space where meaning is fluid, allowing buildings to dissolve into patterns and forms. The result is a visual playground of ordered chaos—an intersection between architecture, art, and the virtual, where structure loses its rigidity and becomes a malleable part of the artist’s spatial experiment. This approach offers a new way of thinking about architectural space, one that embraces transformation, fluidity, and the perpetual construction of new aesthetic realities.

The works from the project "ARCHmetamorphizm" were exhibited:

2011 Group exhibition "Positions - Georgian artists in Europe" as part of the event "Days of Europe" Tbilisi, Georgia

2012Group exhibition "Different techniques" center for contemporary art “Winzavod" gallery "Fotoloft" Moscow, Russia

2013 International art fair "Art Moscow" gallery "Caravan gallery" Moscow, Russia

2019 Group Photo Exhibition "IDEAL BLACK" “OKAPI Gallery” Tallinn, Estonia

2019 International art fair "Foto Tallinn" gallery "OKAPI gallery" Tallinn, Estonia

2021 Group Photo Exhibition "IDEAL BLACK" “OKAPI Gallery” Tallinn, Estonia

2022 Group Photo Exhibition "IDEAL BLACK" "Gamrekeli Gallery" Tbilisi, Georgia

Dissociative identity disorder / You are not alone

“Dissociative identity disorder”

“You are not alone”

The fragmentation of identity is an internal conflict accompanying the decision-making process, which in extreme cases manifests as a symptom of split personality. This duality is not always apparent or destructive: it may not change the key characteristics of a person or their way of life. Up to a certain point, an individual can control this state. However, in the case of dissociative identity disorder, the personality begins to disintegrate, fragmenting into multiple independent selves.

When an alternate identity takes control and episodic memory gradually resurfaces, a person starts to feel that they are no longer alone. This internal dialogue or struggle with one’s inner shadows becomes unbearable when forgotten memories unexpectedly resurface, revealing hidden aspects of the personality. In these moments, there arises a disturbing realization of the fragmented self: every fragment of “I” strives for expression and dominance.

The fragmentation of identity deprives a person of a sense of wholeness and stability. Instead of a coherent self, the individual encounters several personas, each seeking recognition as the true self. This process becomes a painful act of self-exploration, where the fear of identifying with one persona intertwines with the desire to discover the authentic self. During retrospective moments, when forgotten memories overwhelm the consciousness, a person experiences alienation from their own self, as if someone else resides within them.

Even in the presence of others, a person suffering from dissociative identity disorder feels profoundly alone. However, this solitude is paradoxical: it is not rooted in the absence of other people but in the disconnection between different parts of the self. Within this multiplicity of identities, the individual loses the ability to feel genuine unity. This condition forces the person to confront not only the loss of self but also the impossibility of finding stability in their own identity.

“You Are Not Alone” is not just a statement about the presence of multiple selves within one person, but also a reminder of the illusory nature of control over one’s psyche. The individual becomes trapped in their own multiplicity, constantly searching for a unified, authentic self, only to face disappointment. Each fragment of identity strives to take over, intensifying the internal conflict and plunging the consciousness into chaos. Dissociative identity disorder thus becomes a metaphor for existential struggle—a struggle to understand oneself in a world where identity cannot be whole or complete.

The works from the project "Dissociative identity disorder" were exhibited:

2014 ARTISTERIUM 7 Tbilisi Annual International Contemporary Art Exhibition and Art Events. Georgia

Trepanation of the 'pseudo-intelligentsia' caused by stopping of unforeseen of Intelevisation

“Trepanation of the ‘Pseudo-Intelligentsia’ Caused by the Cessation of Unforeseen Intelevisation”

Intelevisation is an invented word that carries an alternative meaning to the contemporary term “intellectual.” This concept explores the relationship between humans and the phenomenon of television, where free thinking, lifestyle, intellect, knowledge, and perception of reality are shaped exclusively by consuming televised content.

Television has become a central issue in modern life. A person addicted to TV loses the most precious thing—time. By absorbing ready-made information, imposed values, and ideals, they gradually stop thinking independently. This process of systematic “intelevisation” leads to a loss of the ability to generate original ideas and opinions, turning the individual into a passive consumer of an artificial reality.

Television takes over consciousness, clouding the perception of reality. The addicted individual begins to live in an illusory universe, where prepackaged solutions and stereotypes are offered. Immersed in this virtual world, they lose the capacity for critical thinking and independent judgment. As a result, the brain stagnates, and the person becomes trapped in pseudo-intellectuality and spiritual decline.

In this concept, “trepanation” symbolizes a radical intervention—the attempt to break open the shell of illusion created by television and reconnect the person with reality. It is a painful but necessary process to free oneself from imposed stereotypes and falsehoods. Liberation through “trepanation” becomes a metaphor for awakening and regaining the ability to think beyond pre-established patterns.

A person absorbed by the virtual world loses the ability to engage in genuine intellectual and spiritual growth. Pseudo-intellectuality replaces real knowledge and understanding. Such a person becomes passive, will-less, and incapable of distinguishing the real from the fake. Intelevisation turns the mind into a tool for manipulation, rather than personal development.

This concept draws attention to the dangers of submission to television and virtual worlds. “Trepanation of the Pseudo-Intelligentsia” is a metaphor for the need to break free from dependence on prepackaged information products and regain the freedom to think independently. The cessation of intelevisation is a call for awakening and a realization that true intellect and knowledge are only possible through self-reflection, not through the passive consumption of others’ ideas.

The works from the project "Trepanation of the ‘Pseudo-Intelligentsia’ Caused by the Cessation of Unforeseen Intelevisation" were exhibited:

2011 Fest i Nova 2011 international festival of contemporary art, in honor of brothers Zdanevich Garikula , Georgia

Personal Paradigm / A reflection of the personal spirit

“Personal Paradigm”

“A reflection of the personal spirit”

The images that live within—dreams, memories, projections of consciousness, blurred traces of the past—form an elusive yet defining structure of existence. Spaces once inhabited by the body, voices dissolved in time, glances left behind in the infinity of the night—all of these continue to live in the depths of memory, creating a multilayered landscape of inner reality.

The world is not absolute but a subjective construct woven from sensations, experiences, and associations. Everything perceived passes through a personal prism, turning into a reflection of one’s inner state. The faces in the darkness, barely discernible through the play of light and shadow, do not belong to anyone specific; they are projections, indistinct traces through which something greater than the individual emerges. In them, we do not see individuality but universality, not a portrait but a symbol, not appearance but an inner essence dissolved in time.

These images seem to arise from the void, crossing the threshold of nonexistence. They are transient, unstable, existing in a state of becoming. Their boundaries are blurred, their forms fluid, filled with multiple meanings, overlapping like layers of memory resurfacing from the depths of consciousness.

The layering of images creates a multidimensional effect: faces appear like imprints of the past, marks on the surface that conceal entire histories. Figures reminiscent of ancient cave paintings are carved by time like scars of experience. They are not merely depicted; they are engraved onto the surface of perception, serving as evidence that life leaves traces yet never retains fixed forms.

The stark contrast between black and white intensifies perception, extracting faces from the darkness, creating the illusion of emergence from emptiness. These images balance between disappearance and presence, between reality and dream. They remind us that identity is not a static form but a process—a movement between light and shadow, between clarity and oblivion, between self-awareness and the loss of self.

There is no portrait here, no final image. There is only a moment of transition—a constant oscillation between what has already vanished and what has yet to take shape. Faces become boundaries, transitional states, questions without answers. They do not demand identification, nor do they ask to be named. They simply exist—as a reminder that a person is always something greater than a reflection in the mirror, something beyond a fixed image.

This is a search within the fluid space of uncertainty, where every glance at the mirror of reality shatters into new meanings, creating an endless play of reflections. It is a question without an answer, and at the same time, the very process of searching for that answer, turned into a visual form.

“Emanation”

Life without aggression or aggressive being? The choice faced by any individual during his material existence. The way from the divine beginning, stepping back into complete aggression is reality. Emanation is a religious philosophical term, meaning the transition from the divine beginning to the everyday reality, regression, the transformation of spirituality into a simpler given.

Aggression is a specifically oriented behavior aimed at eliminating the obstacles that create the physical and mental integrity of the organism. The causes of aggressive behavior can be found in innate instincts.

This is a solid personal disposition, the instinct of death. Her motive is a pleasant emotional shift, which comes in the wake of aggressive behavior.

You always choose the road yourself. If you can resist the emanation, it will probably reach the state of perfect schastya. Divinity can be seen only in kindness. You can resist aggression with good, kindness fights against evil, only so you can transform evil.

Everyone is looking for the truth, but nobody knows where this truth is. You search for the truth and do not guess that it can be found only in yourself.

The works from the project "Personal Paradigm" were exhibited:

2009 Personal exhibition "Personal paradigm" in the center of Contemporary art "Winzavod" Gallery "fotoloft" Moscow, Russia

2009 Publication WINZAVOD ART REVIEW Third Moscow Biennale in the center of Contemporary art "Winzavod" Moscow, Russia

2010 Group exhibition "STATIONS: Paris-Kiev-Tbilisi" Embassy of Ukraine in France. Paris, France.

2010 14th international art fair "Art Moscow" gallery "Fotoloft" Moscow, Russia

2011 Group exhibition "Contemporary Art of Georgia" Gallery "Caravan Gallery" Paris, France

2011 Group exhibition "Positions - Georgian artists in Europe" as part of the event "Days of Europe" Tbilisi, Georgia

2011 Group exhibition "human factor" to be held on the streets of Tbilisi. as part of the event "Days of Europe" Tbilisi, Georgia

2011 "FEST I NOVA" International Festival of Contemporary Art in honor of brothers Zdanevich. Garikula, Georgia

2012 Personal exhibition "SILENTIUM" Design Factory "FLACON" Moscow, Russia 

2012 International festival - biennale "Aluminium" Museum center Baku, Azerbaijan

2013 Publication "Photography in Georgia"

2014 ARTISTERIUM 7 Tbilisi Annual International Contemporary Art Exhibition and Art Events. Georgia

2015 Group exhibition "Emanation" in the center of Contemporary art "Winzavod" Gallery "fotoloft" Moscow, Russia

Psycho-spiritual components of the physical form of matter / Uncertainty relations

“Psycho-spiritual components of the physical form of matter”

“Uncertainty relations"     

This concept explores the interconnectedness between the physical form and the immaterial aspects of human existence—psyche and spirit. Matter is seen not as a static substance but as a point of convergence between the material and immaterial worlds. The idea suggests that every physical body carries not only objective properties measurable through scientific methods but also subjective psycho-spiritual elements that cannot be precisely defined or fixed. This leads to the understanding that the physical and psycho-spiritual dimensions are in constant interaction, governed by the principle of uncertainty.

The physical form of any matter is perceived not only as something objectively existing but also as a carrier of psycho-spiritual information. Every material form—from the human body to the smallest objects in the environment—contains an invisible, immaterial component that influences its perception and interaction with the world. The interaction of spirit, consciousness, and matter creates a multi-layered experience of reality, where no aspect can exist independently from the others.

In this concept, uncertainty relations signify the impossibility of precisely defining the boundaries between the physical and the spiritual. Similar to the uncertainty principle in quantum physics, which states that the position and momentum of a particle cannot be determined simultaneously, psycho-spiritual aspects of matter cannot be precisely captured in concrete terms. Any attempt to understand or fix the psychic component alters the perception of the physical form and vice versa.

Consciousness and matter are in constant exchange. Physical form influences the state of consciousness, while mental states can alter the perception of material objects. For example, the form of the body can reflect a person’s spiritual and emotional state, while changes in emotional conditions can affect physical sensations. This makes every form of matter a living process, in continuous motion and transformation.

Since psycho-spiritual components cannot be definitively determined, the state of matter remains open and subject to change. This uncertainty becomes a condition for freedom and transformation, allowing every form of matter to adapt and evolve. Psycho-spiritual existence depends on this unpredictability, finding in it the possibility for growth and the search for new meanings.

“Psycho-spiritual Components of the Physical Form of Matter. Uncertainty Relations” offers a new perspective on matter as a dynamic, multi-layered structure where the physical and the immaterial are inseparably connected. This concept emphasizes that any understanding of reality remains incomplete, as the interaction of spirit, consciousness, and matter always carries an element of uncertainty. It is precisely this uncertainty that allows both the world and consciousness to remain in constant motion and development.

The works from the project “Psycho-spiritual components of the physical form of matter” were exhibited:

2008 International art fair "Extravaganza Moscow" gallery "Fotoloft" Moscow, Russia

2008 International art fair "Millionaire fair Moscow" gallery "Fotoloft" Moscow, Russia

2012 International art fair "Art bosphorus" gallery "Caravan gallery" Istanbul, Turkey

2013 IVth international art fair "Art Vilnius" gallery "Caravan gallery" Vilnius, Lithuania

2013 International art fair "Art bosphorus" gallery "Caravan gallery" Istanbul, Turkey