Kakha Berelidze | Oli's interviews
author :Oli Kvateladze

Tell us about yourself, when and why did you start painting?

I have been drawing since childhood, painting was what I always wanted to do. In 2010-2014 I studied at the Tbilisi State Academy of the Fine Arts, Faculty of Fine Arts, in the class of Kote Sulaberidze. Throughout that period and after I have been drawing, participating in various projects, I have had many group or solo projects. After graduating from the academy, I continued working in my field. I was also doing various design projects, filmmaking was also interesting to me, I was working as a directing artist. In parallel, I worked in France, I have a workshop there and recently signed a contract with an art residence, I have been working in France for the last two years.

It has been about four months since I returned to Georgia, several projects in France got delayed as a result of the pandemic and I decided to continue doing my job here.

Kakha, as we know you work in many different directions, I wonder where you feel more comfortable and what gives you the most pleasure in your work?


I mostly paint, but I also work in many other areas, such as interior design. I recently made my first sculpture, before that I was busy making installations. I think that when you are an artist you can work in any media and material, the main thing is to know the specifics of the medium. I did an installation for the first time at the academy, I participated in one of the projects and decided to put the canvas aside for a bit, then I liked the fact that I used lighting in all the installations and working in this area turned out to be very interesting for me. It gives me the greatest pleasure to experiment in any field and challenge myself.


Do you think traveling to France and getting to know French culture more closely has changed anything in your creative process or working style?


France, and in general, changing geographical locations always causes other changes as well: emotions, moods and feelings change. Although the field of French art is quite distant from its cultural analogues, my art was anachronistic, the works were relatively more figurative, it was during this period that I decided to experiment with symbolism. 

I wonder your attitude towards colours and materials, does it carry any specific meaning?


I have been working in watercolour paints for a long time and it is quite comfortable for me,  the lightness, specificity and visual aesthetics absolutely correspond to my concept and visions, it is a bit difficult work in some respects, it is quite limiting, however I think it is still a very compact material. Colour is very important to me, while I am still thinking about colour, I can imagine what I have to do. I think the main visual emotion is in colour, lately I have been focusing on exploring this dimension. I think spontaneity should not be controlled by the palette and nor the emotions that linger with you. When working in watercolour, the attitude towards colour becomes gentler, due to the specifics of the paint and the peculiarities of the compositions.


Tell us about the works in the gallery, where did the idea for this series come from and what is the symbolic meaning of the space where the figures are presented?


I started this series in France, I love jogging in the woods, you see a lot of optical illusions while jogging, I also decided to try it in watercolour. I wanted to do a little experiment, the space that is almost the main theme of this series has its existential side. Almost every fairy tale story unfolds in the forest, as if reading morals from the forest, I also built my series like a fairy tale story. I realised what I had in mind before and what I wanted to reflect on I could do in this forest.

What do you think is the main in the process and the outcome?

The work itself is a kind of creative social network, you can load it with certain message and everyone will understands it differently, it is a story of communication as a whole. The main and important thing is the communication between the spectator and the creation.

When do you feel the unity of the composition and the harmony of the work, at what moment is it emotionally complete?

When I work on something, I have the composition defined in my head more or less, I know when it is complete and at what point its unity ends. Jackson Pollock compared the completion of the work to an orgasm, when do you realize sex is over? When you reach an orgasm. I know where my work is complete, I always have it visualised in my imagination.


And finally, based on your experience, what advice would you give to young artists?

I can advise more on what I would not do if I were in their place than what I would do. The life of an artist is accompanied by a greater context, sometimes you are no longer after art, you start living bohemian life, you need a balance it and work a lot. You may think that art is freedom and therefore give yourself the right to work when you are in the mood for it, but in reality your creativity is formed with your discipline.

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Kakhaber Berelidze is a Georgian artist born in 1992 in Gagra. In 2014 he graduated from the Faculty of Fine Arts from the Tbilisi State Academy of the Fine Arts. During his studies at the academy, he also participated in local, solo and group projects. As an artist, he works in various media and genres. Beyond painting, he works in cinema, sculpture and design. Few years ago  he moved to France and is currently actively involved in the creative processes in both countries.


Oli Kvateladze (born 1997, Tbilisi) is a young art historic. Since 2017 she has been studying at Shota Rustaveli State University of Theater and Film. The focus of his research is contemporary Georgian art. She is also interested in researching art institutions and has completed an internship at the Tbilisi Museums Association. Today Ollie is an intern at our gallery.
 

Kakha's artworks available at our gallery: