Untitled 

Curator: Standing before us is an Untitled work, a wooden sculpture created by Gogi Khutsishvili. Editor: My immediate sense is one of quiet monumentality. Despite its size, there's a presence, a somber dignity etched into the wood itself. Curator: Indeed. Khutsishvili’s practice explores the convergence of form and figuration, deeply rooted in a sculptural tradition but also reaching into the abstract. What sociopolitical undercurrents can you identify? Editor: Considering it, I am prompted to see themes of absence and memory. The hollows within the form, those missing spaces—perhaps they signify historical gaps, the erasures experienced within certain narratives that lack clear origins. It speaks to an experience of lost roots, maybe? Curator: The use of wood itself can't be ignored. Its inherent texture and the way the artist has carved and shaped it. It emphasizes material honesty and gives this 'absent figure' a certain authority. Editor: Precisely. And think about what happens if we consider gender and identity; can this work stand as a testament to suppressed histories that have had the figures cut out to promote only certain memories and ideas? Curator: Possibly. The artwork doesn't reveal the social standing or exact purpose of what it originally was or what it meant, making us question how society deals with history and what political purpose art can bring. We need to look at who is missing in both artistic and sociopolitical memory, I suppose. Editor: A reminder of whose stories get told. Curator: It highlights the need to critically investigate all those past interpretations imposed onto an abstract view of wooden form. Thank you for that angle. Editor: It has been my honor to bring to bear some further viewpoints and questions about societal undercurrents within this "Untitled" sculpture. I hope that as you journey onward, the visit continues to spark fresh perspectives of both past works, as well as all the contemporary sculptures that might share something.