Unity Beyond Rationality, and Occultism

 

Before it underwent a stark transformation following the Soviet invasion in the 20th century, Georgia, a country steeped in rich history and culture, was once a haven for intellectuals to discuss art and partake in avant-garde activities. As a geopolitical nexus between Europe and Asia, Georgia's politics and international relations became deeply intertwined, which limited its global interactions; cultivating a sense of national and personal identity became the domain of artists. Rusudan Khizanishvili's (1979-) art epitomizes this journey, delving into her experiences as a woman immersed in this culture, her reflections on motherhood, and Georgia's unique historical backdrop.

The hues of Tbilisi, Georgia's capital, saturate Khizanishvili's work. While direct references to the city's geography are subtle, they're present: from its position near the Black Sea, to its majestic mountain ranges, to hints of its historical significance as a cradle of ancient myths evinced by her adoration of mother nature. For example, Mount Kazbegi in the Caucasus, where Prometheus was chained as punishment by Zeus, and legends of the God of Creation crafting lesser deities in the sky, evoke images of the primeval time when gods roamed the earth. Tbilisi, having preserved the charm of its historic old town and true to its name, etymologically traced as meaning 'warm', melds the past with the present, enough of a backdrop to be influencing the artists it nurtures.

In her work, Khizanishvili emphasizes the theme of "women" and delves into the notion of "protection." Even though multiple figures populate her canvases, women remain central—often depicted as resting, leaning, with their hair down, or engrossed in various activities. This is evident in "Balancing" (2022), where figures are positioned centrally, balancing spherical objects atop their heads in seemingly ceremonial postures, making these gestures appear almost ritualistic. This spiritual ambiance, highlighted by her interest in mysticism, is further intensified by the inclusion of mystical patterns and colors. For example, "Shining" (2023), is a portrait of two women, adorned with halos, captures a transient burst of ethereal energy. The manner in which their hands reach toward the sky while their gazes lower suggests a ritual of sacrifice, subtly conveying sorrow for the Georgian lands lost to Russia, the resilience to navigate challenging times, and an optimism for the future that might even be dangerous.

Khizanishvili incorporates motifs such as the womb, silence, mystery, and ecstasy; using them as metaphors for femininity. In doing so, she explores her identity as a woman and further expand the narrative inherent within. Among these motifs, 'sleep' stands out, resonating with mythological connotations. In pieces like "Diving" (2023) and "The Shell" (2023), which depict the serene descent into dreams, a woman's closed eyes and reclined posture capture the liminal space between wakefulness and sleep, portraying the gateway to dreamland. In these works, a resting woman, eyes shut, exudes a mysticism that blurs the line between consciousness and the unconscious. The vibrant patterns in the backdrop and the flowing red hair enveloping the figure evoke drapery from ancient Greek myths, giving the artwork a decorative allure while drawing viewers into a realm beyond the conscious. Indeed, some motifs echo Greek myths, many of which (that are also familiar to us) unfolded on Georgian terrain, emphasizing their interconnected symbolism.

Hypnos, the god of sleep in Greek mythology, was the twin brother of Thanatos, the god of death. As such, sleep was believed to be both restful and restorative, yet closely akin to death. Before the emergence of modern medical science, people probed the realm of sleep alongside hypnosis and death. The trepidation surrounding it became a cornerstone for literature and art. This is why European literature often portrays sleep as a mysterious, scary, and uncharted domain.

The iconographic link between a woman and mother, and from motherhood to mother nature, is metaphorically depicted in "Observatory" (2023). The portrayal of Gaia, the goddess of the earth, nurturing and safeguarding life in all its forms, cradling it in her embrace, evokes the tender care of a mother. The sun and moon flanking her signify the passage of time, and the surrealistic bend of the ground with its numerous craters hints that this is a fantastical realm. A colossal being in the artwork, embracing the two figures and donning a monkey mask, appears to be a woman by the corset it wears. The upper body, draped in tough leather and black fur, contrasts with the exposed, delicate pink flesh below, offering clues to the true nature of this enigmatic being. In the artist's perspective, a woman is a sovereign entity—soft-skinned yet exuding a potent strength inherent within.

 

Iconography symbolizing protection is also prevalent in motifs like the sturdy-beaked birds enveloping a woman's form in "Pheasant Farm" (2023), seemingly intent on shielding the woman. Khizanishvili frequently utilizes symbols such as strong armor and insignias encircling the body to symbolize the preservation of a woman's delicate physical attributes. Armor serves to guard the body, yet it also stands as a testament to an individual's existence and their desire to escape precarious circumstances. Khizanishvili's approach, veering from the literal to the symbolic significance she attaches to each figure, appears to place trust in the unseen strength conveyed in her imagery. The vivid primary colors, defined shapes, and dense textures function as protective talismans, safeguarding both the external and tumultuous inner worlds. Transcending a historical context filled with conflicts to safeguard nations, communities, and individuals, these protective mechanisms embrace paradox by swapping out hard materials and replacing them with soft and gentle elements.

The variety of means to shield the skin soon encompasses synesthetic elements like touch, sound, and sight, aligning with themes of healing. "The Sounds" (2023) and "The Touch" (2023) bring to life the senses of hearing and touch, unveiling a self restored by the caress of a hand over a wound. These pieces intimate that the human hand is the body's most personal and vulnerable part. Iconographically, hands symbolize "truth" and "miracles," evoking the Apostle Saint Thomas's hand, one of Jesus's Twelve Apostles. As the tale goes, his doubts about the resurrection ceased when he felt the nail marks in Jesus' hands, underscoring a spiritual truth beyond logical skepticism. The act of extending one's fingertips can be likened to the start of a journey from the body's exposed surface, depicted as vulnerable in Khizanishvili’s artwork, reaching the depth of the soul. Beyond the tangible reality sensed by humans, the world manifested by our imagination embodies an 'Idea'—a reality beyond human perception that is timeless and unyielding. As real existence blurs into illusion in a fictive realm, a canvas awash in vivid hues captures the true essence of all entities. It guides our perceptions toward the pinnacle of our consciousness – transcendence – unveiling the unchanging truths behind an ever-evolving, imperfect world.

After stripping away ornamental elements and delving into introspective sensory reflection, Khizanishvili's work ultimately gravitates towards spiritual mysticism, interspersed with diverse symbols echoing eternity. It reflects both her identity and her maternal journey, a role and duty she faithfully upholds. Khizanishvili's contemplative mind, using natural forces to illuminate and comprehend phenomena beyond logical grasp, showcases her occultist leaning and unwavering attitude, providing a window into profound depths.