top of page


ARCHIVIO ATELIER PHARAILDIS VAN DEN BROECK March 24 - May 3, 2020 postp postponed Covid Tatjana Giorgadse spent weeks studying Phara's paintings and jewellery sketches from the first decade of the new millennium and, under their influence, created objects that might rightly be described as wearable artworks.

There are probably two ways for me to bring the project close to me.

I find the pictures of Pahraildis questionable (positive way), some speak to me with colour and intensity deeper, there are some I look at again and again and look for individual components and object symbols. For me it is important as a first impression only to feel and see. I do not want to be interested in the rest. I don't want to know what she wanted to say what she felt. Nevertheless, I am connected. Art is for me more privileged than the word.

Today, yes, maybe not tomorrow.

I find it difficult to talk about what comes out of my hands, the tongue doesn't interfere until it is asked.

It's my natural process.

Some images are how to describe it: like music that captures you and although you understand the language, you have not heard any of the words. And then there are songs where you immediately hear the spoken words.

I want to breathe through my eyes the painting into my world. And transform it, into jewellery and installations or object, but till it takes its place on the exhibition space I would like to consider.

I feel connections, through the way she worked, the layers she used to make some paintings... but then also the simplicity of them. And some I just don't like -its interesting if they will inspire me also.

The colourfulness that is gaudy and the colours that are folkloristic...

There is not the one continuous kind of the pictures, also I only want to work on it and see the connection at the end. Therefore, it is difficult for me to represent an exact concept. I sketch into the space with the materials.

What connection the subject creates in my mind to my hands is perhaps far from clear to me.

The intellectual space, the thinking space, will closes and open the circle in interaction with my pieces and Pharaildis work and workshop. I'm looking forward to feel the spirit of the workshop and the Atmosphere. This is why I'm wanted to make some pieces in the space while I'm a part of it .

The process, the combinatorial procedure interests me. Provisionally. So it leaves open the possibility of doubt and change.


Fragility of the construction, brutality, traces, remnants and instability.

I like material excesses in a positive sense, and I love to work freely. Not caring about the value of the material, and using all these materials equally side by side. The technique is not important, the pieces should be created through a uniform magical process recalling certain alchemical experiment. And in this project I will do that .

I do not want to take it seriously, for me this is nothing negative. The pictures accompany me and inspire me subconsciously. I accept this gladly. It works for me.

Between what I see and what I let arise is this place, this vacuum. What is there? I want to poke around in it. Not necessarily. I trust in the processes.

Then there is probably the second kind working process ,that have an effect on me, in which the spirit , the brain switches on.

What do the onions mean, what are the football fields,

Did she love onions? Or was there a deep meaning behind it? I think about why this kind of simple vegetable or was it a symbol?

Onions consist only of peels and you can peel them until there is nothing left.

Finished! Wonderful! . What more does it take to become philosophical ?

The tuber, which stores nutrients, hides and inconspicuous and has such a tender and thin skin.

At the same time, however, such a large potential for growth ?

Did Pahraildis feel like an onion ? Should someone else feel like one ? Should I be an onion while working ?

The layers in the pictures.

The onions with all their many in one.

Many skins that are stripped off, the snakes do it too, they are also in the paintings.

How many layers do I have to peel to get to the important core?

I think about it and still I have to be honest and my artistic feeling doesn't want to know anything, it just wants to see what it can feel, while looking at the painting.

Is it enough to see an onion to shed tears in the painting ? The onion as a medicinal plant.

Does my brain associate stench with the onion in the painting ? When I get to the core there are only the intestines ?

Did she dream about the onion? I look it up; rotten onions stand for pain.

I might want to work with the onion skin.


bottom of page