The Bijouterie 3, 2024
Gela Mikava  

Painting : oil, acrylic, Textiles · 100 x 80 x 3 cm 39.4 x 31.5 x 1.2 inch

£2,652 2 652 £GB

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Shipped from: Georgia

Delivery to: United Kingdom , £ 242

Estimated delivery: Less than one week

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

100 x 80 x 3 cm 39.4 x 31.5 x 1.2 inch Height x Width x Depth

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Art gallery

Professional art gallery • France

Credentials

Vetted seller since 2015

Discount

This seller offers discount when you purchase multiple artworks.

Description

Acrylic, oil & pigment on soviet-erra fabric biazi 

This evocative painting merges architectural precision with raw emotional depth. The artist employs a singular approach to his substrate. He uses reclaimed Soviet-era biazi cotton. These fabrics once covered the ceilings of domestic homes. The material acts as a physical archive of vanished lives. 
The composition presents a mysterious atmosphere. A dark void surrounds a central, luminous shape. This glowing core pulses with yellow and grey tones. Two stark white figures stand like sentinels at the edges. Their silhouettes create a sense of formal symmetry. 
The layering process is essential here. Oil and acrylic pigments absorb into the textile. Some areas appear washed over. Others feel obscured or erased. This technique mirrors the fading nature of collective memory. It evokes a psychological state the creator calls post-socialist radiation. 
The artwork oscillates between abstraction and figuration. It captures the tension between presence and absence. The viewer is invited to contemplate the traces left by history. Every stain and smudge tells a story of endurance. The surface reveals a complex dialogue between material history and contemporary experience. This piece blends the rigidity of an architect's eye with the sensitivity of a painter. It concludes in a muted horizon of grey and green hues.

Abstract

figurative

Abstract art

Yellow

Gela Mikava, The Bijouterie 3

Gela Mikava

Georgia  • 1995

Presentation

Born in 1995 in Zugdidi, Georgia, Gela Mikava is a Georgian contemporary artist who lives and works in Tbilisi. Trained as an architect, he received his BA in Architecture from Georgian Technical University in 2018 and completed his MA in 2021. His artistic practice developed at the intersection of painting, material research, and installation, exploring the relationship between personal and collective memory, material history, and contemporary experience.
A distinctive element of Mikava's practice is his use of authentic Soviet-era biazi cotton fabric, reclaimed from old domestic interiors. Previously used as ceiling covering in Soviet-period homes, the fabric is carefully removed, cleaned, and transformed into a surface for painting. For the artist, this material functions as a form of archive, carrying traces of domestic life, time, use, and disappearance before becoming part of the artwork.
Mikava's practice is closely connected to his concept of “Post-Socialist Radiation," through which he examines the subtle psychological and aesthetic traces of Soviet ideology that continue to exist within contemporary life. Working across painting, textile, collage, and installation, he employs processes of layering, absorption, washing, peeling, obscuring, and erasure to explore how memory can remain embedded within materials and surfaces.
His projects include *The Bijouterie*, *Post-Alienation*, *Infanta Destruction*, *Predators & Herbivores*, *Artificial Flowers*, and *What Remains of Gesture*. His work has been presented internationally in Europe and the United States, including a solo exhibition *It is Heard — The Silence, I See — Nothing* in Atlanta in 2024. His work has also been presented at art fairs and exhibitions in London and is held in private and institutional collections, including the Lester Marks Collection.
 

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