Gallery Artbeat is pleased to present Georgian artists Nato Sirbiladze and Beso Uznadze at Paris Internationale 2025.

Nato Sirbiladze is a self-taught artist who began painting at the age of 31. Unaffiliated with academic institutions, she has also rarely been included in the narratives of the local art scene, and has continued to develop her creative path independently. Her work blends painting and collage, incorporating photographic fragments—windows, buildings, and everyday objects—into layers of expressive brushwork. This fusion generates a dynamic tension between reality and imagination. Sirbiladze’s vivid palette of pink, green, violet, and yellow, applied in bold, almost childlike gestures, imbues her work with a dreamlike, intimate, and distinctly domestic atmosphere.

Most of her compositions center on women in interior settings—rooms animated by patterned curtains, tables, flowers, and ornate lamps. These interiors take on a theatrical quality, resembling stages upon which traditional roles of femininity are enacted. Nearly every painting features windows that frame glimpses of the outside world: courtyards, trees, snow-dusted landscapes, or fortress walls. These contrasting views puncture the staged vibrancy of the interiors, creating a dialogue between the enclosed domestic space and the wider external environment.

Beso Uznadze’s latest works are large-scale abstract paintings that form an expansive psychographic map, capturing emotional and psychological states such as trauma, fear, frustration and alienation. The abstraction in Uznadze’s practice emerges through the process of distilling a multi-layered identity into visual form. His methodology is deeply tied to the aesthetics of photography, particularly its ability to
produce semi-transparent, layered images. This effect is achieved by superimposing two distinct visuals—a technique that Uznadze translates into painting by layering overlapping canvases to create richly textured abstractions.

The surfaces of his works resemble archaeological sites—built through scraping, dripping, and scrawling—gestures that form dense visual palimpsests. Acid yellows, violent crimsons, and translucent blues collide with muted greys and earthy tones, generating chromatic dissonance. These visual clashes destabilize the composition, creating zones of tension where energy concentrates, fractures, and
disperses. Rather than depicting tangible forms, Uznadze’s paintings evoke psychological and emotional states: turbulence, fragmentation, and sedimentation. Each layer of mark-making acts as a metaphor for memory and thought—overwritten, never fully erased, but continuously re-emerging in complex, textured strata.