ARTISTS
Thea Djordjadze: Notes on light and sound of objects
Kaufmann Repetto is pleased to announce notes on light and sound of objects, the first solo exhibition of Thea Djordjadze with Kaufmann Repetto in New York, and her third with the gallery.
Working in-situ, as is the case throughout all of Djordjadze鈥檚 practice, materials and objects are placed by the artist so as to respond to the space in real time; a sort of private performance, witnessed solely as a remnant of the action. throughout her installation-based practice, architectural elements (such as shelves or platforms) and sculptures may appear as the form of containers or objects of display, but they are often in fact the object(s) on display; the function of container and contained are fused together, one and the same.
Sseemingly in didactic conversation with her formal training in the academy tradition, Djordjadze utilizes various materials including metal armature and plaster, which are also the same structural elements supporting the interiors of classical sculpture and architecture. In critically alluding to canonical perceptions of form and beauty, Djordjadze generates a de-hierarchization between interiority and exteriority. The overall presence of the artist鈥檚 gesture, often through the pairing and combination of objects 鈥揳lmost as if a collage in space鈥� invites the viewer to construct an empathetic relationship with the work.
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Kaufmann Repetto is pleased to announce notes on light and sound of objects, the first solo exhibition of Thea Djordjadze with Kaufmann Repetto in New York, and her third with the gallery.
Working in-situ, as is the case throughout all of Djordjadze鈥檚 practice, materials and objects are placed by the artist so as to respond to the space in real time; a sort of private performance, witnessed solely as a remnant of the action. throughout her installation-based practice, architectural elements (such as shelves or platforms) and sculptures may appear as the form of containers or objects of display, but they are often in fact the object(s) on display; the function of container and contained are fused together, one and the same.
Sseemingly in didactic conversation with her formal training in the academy tradition, Djordjadze utilizes various materials including metal armature and plaster, which are also the same structural elements supporting the interiors of classical sculpture and architecture. In critically alluding to canonical perceptions of form and beauty, Djordjadze generates a de-hierarchization between interiority and exteriority. The overall presence of the artist鈥檚 gesture, often through the pairing and combination of objects 鈥揳lmost as if a collage in space鈥� invites the viewer to construct an empathetic relationship with the work.
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