Valerie Goodman Gallery is pleased to invite you to a complete environment created by furniture and interior designer Tinatin Kilaberidze. The Georgian born multi-talent with a background in literature and architecture will present her signature tables, consoles and benches accompanied by her elegant lighting and enclosed by her own wallpaper. Please join us in celebrating Tinatin Kilaberidze’s unique enveloping installation with a reception on October 19th, 2016 between 6:00pm and 8:00pm at 315 East 91st Street., 4th floor. The show will be on view until December 9th.
“If I have to connect two dots, I will always use the shortest path”, says Tinatin Kilaberidze. However, in her view the preference for the straight line —or the sharp edge — is not at all in conflict with a deep love for the organic: “Nature has three elements: simplicity, geometry, and balance,” she explains. The spiral, the hexagon, and the sphere, for example, are not a rational imposition onto an unruly natural world but part of nature itself — these geometric principles are embodied in the nautilus, the honeycomb, and the planet. Kilaberidze’s grand console with its concertina base may employ the esthetic power of stark angles but it also revels in the beauty of unadulterated wood — quite a lot of it, used with the same lavishness as the fabric of a full skirt from Dior’s New Look era. It took her three months to find the right piece of ash and a few more for her master carpenter to build it. With its powerful square base, Kilaberidze’s pentagon table also exudes solidity and boldness, while her very slender bench seems as simple and delicate as a pencil sketch — it is actually made from three kinds of wood, their different colors appearing almost ornamental within her minimalist repertoire. A fluffy lambs-wool cover softens the skinny settee, adding another tactile dimension to the smooth wood with its satiny sheen.
It was Tinatin Kilaberidze’s upbringing in Tbilisi, a city located along the ancient Silk Road that opened her eyes to the art and design of East and West in equal measure. “Both have a sense of balance, and both use the golden mean,” she says. Both have their strategies of disciplining and idealizing nature, and Kilabedridze is fluent in both traditions. She has been just as much inspired by Shaker as by Chinese furniture, but while Chippendale adored the latter and added his own flourishes, she always subtracts. Only a fraction of a curve from a Chinese chair — or from the bow of a Viking ship — would make it into her own designs. Because with all their sensitivity for the intricacies of nature, they are also strictly functional. To Tinatin Kilaberidze, the superfluous is painful, while the splendor of highly refined, yet “un-tortured” materials is essential.