Valo Imerlishvili at CROSTY ART SPACE

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CROSTY ART SPACE presents the exhibition of the ‘Spruce trees’ series of the Georgian contemporary artist - Valo Imerlishvili. He was always distinguished by his unique style and individualism. He has participated in many local and international exhibitions. Valo is the author of many projects both in Georgia and in Eastern Europe.
The series presented in the exhibition is a metaphorical representation of the opposite idea, instead of the meaning that the real Christmas tree has in our memory. Wood - which, when cut, becomes as lifeless as basalt stone. According to the artist, "Cold and frozen stone trees, some were made from curbstones and some from metal materials."
The shapes of the objects are unusual, and the sizes differ from each other. The contemporary vision of the artist is clearly seen in the deliberately unprocessed forms of objects, which give his sculptures a uniqueness and change their character.
Academic knowledge is noticeable in Valo Imerlishvili's works. However, he developed his own unique concept form. It presents the knowledge gained from academism in a freer and more modern form. His objects are often conceptual, characterized by generalized figures that create a broad idea of a character or other subject.
Seeing figures in the world, conceptualizing them in different mediums, and showing others your perception is really nice and rare. His art is unique in that he can turn seemingly simple figures into an idea by using material and deconstructing a form to indicate the presence of a real figure within it.
His works may be the beginning of Georgian proto-cubism in the history of Georgian art, which no one has created until now.
Along with the objects, the exhibition will feature their sketches, as well as other works that are not yet completed. The artist has been drawing and creating a series of ‘Spruce trees’ for many years. Visitors to the exhibition have the opportunity to see the creative process from the initial idea to its final result.
Curated by Kati Arsenishvili
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