Dawn Painting

Old Coin A human being is mostly surrounded by objects. Unseen existence of these objects is stuck hard in our everyday life. Here, these are invisible supports, pillars of our body; body-projection continuations of our own body. Natural and necessary extensions… And just through these body-projections we master the nearby space. We master it; we make it our abode… Meanwhile, accustomed to usual “routes”, we seem not to notice the world of objects; the world, which keeps losing hopelessly its sustainability… the world, unanswerably turned into an abode… Through unexpectedly appeared lights we are getting back the reality; the reality, as a cut coin…the coin hopelessly lost or thrown away… It seems such is “monetary (coin) policy” of aesthesis! I think Deylo Alughishvili is in search of such “coin”; is looking for it and then makes it return into the lyrical narrative of her charming graphic opuses… She again changes its “aesthetic-purchasing” value and generates the interest of its own ego herself; unexpected and renewed interest in, at the first site, time-lost visual thematic… Later, this interest is replaced by awareness; by the joy of awareness; by joy and nostalgia… Young artist herself becomes aware of her own vision; the vision, which carefully keeps some jeopardy; some latent unrest, anxiety… And this jeopardy or anxiety, if you wish, anxious expectation appears in the narrative of each following opus. Technique of monotype gives her a possibility to get hold of unison of color and contour; to specify the image stage by stage… to show us the image, which disappeared in colorful tonal gamma; Or, as great Georgian Artist, David Kakabadze would say – imaginativeness… and so that to preserve in this “imaginativeness” the proportionality of a sign and a hint, of a cultural code and painted lexical code; the proportionality, as a synthesis of technological-modeling action and anticipated aesthetical re-action… and, generally, the proportionality, as a phenomenological givens of aesthetic object.