The Harlequin's Companion Painting

Tamaz Gogoladze stands as a luminous figure among contemporary painters, his works embodying a unique blend of southern temperament, akin to the Georgian school, and a cosmopolitan perspective on the world, humanity, and religious beliefs. His canvases often juxtapose Georgian Orthodox Cathedrals with Catholic churches, where deserts transform into roads that lead back to childhood, brimming with impressions of airplanes, steam engines, and cherished bicycles. The essence of Old Tbilisi's lifestyle is encapsulated within the imaginary confines of a townhouse, where love, dreams, kindness, and serenity prevail. This town, etched in the artist's memory, yearns for the innocence of childhood and the warmth of home, its mornings painted with a special affection and care. The depicted towns, with their beautiful dawns, remain unnamed, emphasizing not their identity but the universal awakening and joy symbolized by a dancing boy beneath an umbrella. Gogoladze's architectural education subtly influences his art, with a profound fascination for houses as his central motif. These houses, ethereal yet emotionally resonant, reflect the artist's inner state through vibrant colors and diverse expressions. The "Red House" series, emerging in the early '90s post-USSR collapse, marked a pivotal moment in the artist's career. This bold use of red, unseen in the art world until then, garnered immediate attention, dividing critics and captivating audiences worldwide. Its simplicity and modern design appealed especially to foreign collectors and corporate acquisitions. Following the "Red House," themes like red pots, fish, and steam engines continued to explore the red spectrum, a color symbolizing love, passion, and victory across cultures. Yet, Gogoladze understands its complexity; red demands precision and intelligence, unforgiving of errors and losing its essence with any misstep in combination. Politicians have created the history and the boundaries… But the painter has created this history on the canvas and has collapsed these boundaries…