The cosmogonic model of Merab Abramishvili’s work deals with the theme of paradise: namely, the archetype of the Garden of Eden, the joy of “being” inside it, and perilous external adventures.

As an artist his memory is governed by mythological and religious archetypal models, and nurtured by the impulses of a cultural chronicler. His painting is therefore associated with the simultaneous process of identifying ourselves with objects from diverse cultures, and distancing ourselves from them.

The “script” of Abramishvili’s work is not determined by any specific cultural arena. His works unite such radically diverse cultures as those representing Western and Eastern, Christian and Islamic contexts. The inspiration for the artist and his archive of paintings derives from ancient art motifs, “paradigms” originating from Renaissance and Byzantine drawings, primitive cave paintings, medieval Georgian frescoes, Persian miniatures, and Qajar art. Despite these associative effects, Abramishvili maintains a strong, clearly individual position and utilizes the cultural archive for his own interpretations, creating a whole series of “icons and images.” As an artist, he is a follower of cultural “globalization” and universal values. Accordingly, his art overcomes the boundaries of local, national style and has attained international status.

Perfection is the tool Abramishvili employs as an artist. He brings all models and objects to perfection and the extremes of form, plasticity, and dynamics, until the image becomes ideally perfect. In his work, all images are transformed into a class of beauty so as to evoke the same feeling of admiration the artist himself experienced towards the world.

Merab Abramishvili’s works are also distinguished owing to their technical aspect. He studied the technology of medieval Georgian monumental art and iconography, and linked the methodology of wall painting to easel drawing. His works are produced on veneer with the use of tempera, and covered in egg yolks. The artist offers a new, specific version of the technical possibilities of painting through the application of soft colors and textures made from water-based paints on plaster backgrounds.

Baia Tsikoridze