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Born and raised in Georia and living presently in Poland, a graduate of  State Academy of  Art in Tbilisi, I have always love art, beauty and painting.
                                                                                                                          
                                                                                                            Write-up By Inga Karaia

(Traits for the artists portrait, University of Warsaw, 2009)
                                                                 
                                                               
             The begining of creative work of the Artist Vakhtang Khazalia coincided with the sudden change of the Georgian painting, when the position of the young artists does not already match with the stereotypes and it was distinguished by energetic searching. The artists of the last decade  of the 20th century played a significant role in crossing conjuctural dogmatics and inculculating new tendency. Practically, under the conditions of total information vacuum, they became able to forsee the experience of the old generation artists and to come nearer to the current process of the modern world painting. Just the free expression turned the Georgian painting into the artistic appearence that is based on the intelectual selfrealization and accordingly, it determined its romantic nature.

            Vakhtang Khazalia is never loosing the poetical intial and he is always deeloping the romantic intonation. In his works, where the interest towards the infinite possibility of color is a leader, one can always feel the emotional charge that makes animated-material contact and gives lyric to an ordinary motive. This peculiarity was obsereved in the compositions created in the end of 90s in Tbilisi, in the simple subject of those compositions metaphoric prevails. Here, together with romantic sentiments  one can find everlasting idea of intercommunication of  human and nature or philosophical  judgment about fleetingness of life.

           Aspiration for generalized thinking occured to Vakhtang Khazalia during his study at the Tbilisi State Academy of Art ( ? ) that was clearly displayed in different canvases and portraits. Although, it needs to say that his works are not limited to the traditional understanding of genre. The free artist has never been satisfied with the limitation of topic and he was contriving to make such rhythmics in the monumental or small size canvases, that they  arouse interest even today. His works achieve symbolical sonority by stylization of the figures and mythical associations. But, in the  monochromatic range of colors the features of pictorial thinking are clearly distinguished, that are typical in general, for the Georgian painting and the art critics consider them as individual occurence and Georgian phenomenon.

             On the whole, the origination of  Vakhtang Khazalia’s painting bears polyglot signs and it is difficult to match its signs with one of the tendencies. The artist thinks the wall painting of the middle ages as the most important value and considers it as one of the definitions of the national form. Although, in the early works of Vakhtang Khazalia the spiritual closeness with the medieval painting is really felt, in his painting synthesis of tradition and self finding has never ended in dry stylization. It is organic and it connects the painter’s hand more internally with the past epoch.  Just such attitude is a main motive power of his works, when semi-transmissions of tones approach to the lightness typical for the national school.
 
             Vakhtang Khazalia never rests on his laurels and he always persistently searches for a new form of expressing subject (among his early works there are sculptural works and also chased works of art), but the artist’s searches are still connected with the painting. Inevitability of creating conformable mood of the subject, promts to the artist to pay his attention in one case to the strained lineal rhythm (“Compozition”, 1990), and few years later colourful range turns to cheerfully sharp contrast (“Apa”, “Two of them”, 2006-2007) that is caused by the interest of completely displaying of the color opportunities.
 
            Just the purposeful investigation stipulated the changes of painting style that are revealed in the works created in the begining of the 21st century and finally forms artistic-thinking system. From now on, the artist more frequently turns tu the light colouring and almost disregards, casts away distinctness of silhouette. The series of works performed in Maiami (USA) is notable for transparent painting and simplicity that serves for the goal of creating harmony and it is provoced by original attitude towards environment. Vakhtang Khazalia is a tolerant person and he is always aspires to the ideal balance. This explains the circumstance, where it is a quiet dialogue between specific models and imaginary charecters in his thinking space.
 
            It is obvious, that it does not mean indifferent attitude towards today’s crisis, but it should be perceived as distinctive protest of the artist against the total estrangement, or fight for finding vanished harmony. Certainly, the thinking paradigm attracts the painter and that is why he places his charecters in the abstract space. This originality is striking in the canvases created in 2008-2009 that are always preserving usual striving for loftiness.

            In the majority of works made by Vakhtang Khazalia, the meaning of genre is conditional.The painter’s models subordinate to transformation and accents to the contrasting mood. These works are not characterized by sharp topic, but typological clearness is always existing  there, and the origination of some motives is always familiar to a spactator. Besides, each picture appears as a new virtual reality and it is possible that interrelation of ordinary subjects carries something mystic.
          
            It is natural that, this circumstance is not accidental. Vakhtang Khazalia’s painting is based on feeling-contemplative synthesis and together with meditative attitude towards a colour, it serves more for “catching” the flash of life that is difficult to procure, rather than deepening into the dramatic layers. It is important for the artist to impress the impulse received even from the rapid impression, that arises deep emotion to him, dictates the attitude, unknown before. In general, display of universe harmony in any form may become for Vakhtang Khazalia a creative impulse, that he first of all subordinates to his self artistic quest.  
   
            It is obvious that this stability contains a lot of different intonation and does not suffer from the lack of content loading. Realization of the painter’s “I” is far from a false inspiration and it devotedly follows the the aim, set by the artist for the last years – to turn the picture flatness into the equivalent of harmony and co-feeling. That is why he uses many times periphrasis of experienced topics. This is the reason that, the metaphorical scenes or the portrait world seem to us as some kind of conglomeration of types of person that are already familiar to us, that is changing the expression according to the situation and creating endless variations of the universe metamorphosis. The painter’s permanent models (Adam, Eva, flowers, different animals, birds, etc.) “help” him to express the harmonious unhomogeneity of environment and at the same time they present “conductor” of the feelings that arose in the soul of the author. Just, these personages represent components of the artist’s simple motives and they are the centre of attention where always the man is implicated. Even in nonfigurative compositions he coexists in the eternal intercommunication    with the universe. It is meant in ciphered implication and in those feelings that are unutilized and the audience should identify.


            Inexhaustible metaphor of the artist’s feelings presents the eternal initial of art – woman’s theme. The painter was using this theme often in the past that was stipulated by the interest towards the physical harmony, but in the last works he transformes it into such painting allegory, that contains a plenty of life melancholy and lyric music together with healthy expression of life delight (especially in the nacked models).

              His women are far away from Renuare’s female charecters, and even from the heroes of carnival scenes known from the Georgian painting. They are more delicate, as if they are unprotected creatures, who need to be treated so neatly as the universe balance and harmony.  
           
              It is important for Vakhtang Khazalia to reflect just the emotional environment, that produces indelible impression on him, and it is possible that he will be expressed in the dramatized atmosphere. The painter’s any opus – life-carnival composition, representation of the biblical motives or even the animal picture, reacts on environment based on eternal values and always develops the tendency of harmonic perception.

              Exactly, these peculiarities stipulated unremitting interest towards the artist’s painting at the republic exhibitions, as well as the international ones (USA, Poland, Greece, Germany, etc.) Each meeting with the artist’s painting reveals that Vakhtang Khazalia is still searching for universal harmony. He still preserves figurative convincingness and the huge spiritual energy that will bring not a single joy to the connoisseur of his art.
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