There is a profound, almost surgical precision that occurs when raw, industrial decay meets the deliberate application of oil and acrylic on canvas. My participation in the Tbilisi Summer Set 2016, held within the skeletal remains of a former laboratory building on University Street, was an exploration of this exact intersection.
The environment was brutalist—a vast, hollowed-out urban void. Into this space, I introduced two specific bodies of work: the "Threads" series and the early iterations of "Portraits without faces".
"Threads" functions as a dialogue between geometry and chaos. Hanging these pieces in a space defined by exposed concrete and neon light felt less like an exhibition and more like a reclamation of a lost structure. The "Portraits without faces" series added a layer of haunting anonymity, perfectly mirroring the atmospheric tension of the site.
.......In a setting filled with the rhythmic energy of iconic electronic artists such as Ishome, Koreless, Kiasmos, Kollektiv Turmstrasse, and others, these works found an organic home. The interaction was visceral—the modernist compositions didn't just sit within the urban ruins; they became a vital part of the atmosphere, bridging the gap between historical architecture and contemporary visual language.
The way the natural light from the shattered skylights interacted directly with the heavy textures of the paint created a singular state of resonance between the medium and the environment, turning the industrial decay into a living gallery.
