Through this performance, I tried to create an illusionary house, a living organism of model objects needed for everyday life. This story was staged in the theatre, which gave it a really big exposure. It was like a traditional theatrical piece, yet still maintaining the contemporary touch. Home my Sweet Home combined four collaborators: Marusia Nizauvtsova went for garments, Anya Mokhova took care of the exterior, Muzaradi came in with hats, and Leather Like Wood’s accessories perfectly decorated the interior. My performance showcased the appearance of a house I would live in, highlighting the human-object relationship. 

Not all my stories fit within the fashion scene or context. I choose the platform according to the designers I collaborate with and the product I obtain. We dedicated this season to the commercial clothing by Marusia Nizauvtsova together with art pieces by Anya Mokhova, which are good for both wearing them and using them as interior decoration. My goal as of curator was to explore various means of using the products, starting from something you can just look at and ending with something you can wear with pleasure. Systematic mixtures of the usage make the gallery flexible for both art and fashion. The performance format just raises alternative emotions in the audience, where the product stays equally suitable for the commercial world. After the performance, the collection was moved to the showrooms obeying fashion formalities.

Honestly, I feel that it is both social and personal. The desire to portray your inner thoughts arises from self-protest and it is a message transmitted to society. I can say that one follows the other. Nowadays, storytelling is the key to artistic communication, as the problems it inherits can be easily transformed through installation, paper, performance and different kinds of portrayal. Each artist’s problems are easily claimed to the world. That’s what it is all about: to say and to be heard. In my case, the performance does not touch issues of urban living; it’s more about gathering artists into one illusionary scene under the protected roof.

I see a connection between reality and illusion. To me, performance is the realization of hidden illusions in real life. Something untold becomes clear on the stage through the collaborative product and the dynamics. The approach stays the same: the creation of the plot, collaboration and performance. Sometimes I feel that my illusionary world overrides reality, everyday life. Performance helps me keep illusions apart, which are divided into chapters and documented through media. To me, that’s the right classification of storytelling.

I have noticed lots of similarities with these artists. I think it’s about coincident issues we all passed through our lifetimes. What I love in Bonajo’s works is the dynamic and objectification of the story into a picture or installation. That is what I also strive to reach through my performance. Body objectification is a cornerstone of Home my Sweet Home project. Models were transformed into functional objects, creating one big living organism I dreamt of. I also concentrate on gender roles, which have been following me throughout my childhood. In my universe, there exists an androgen family of baby faces, asexual characters. I invite them to become part of my fairy world. In Georgia, there are many taboos and a great misunderstanding of gender roles; young individuals suffer to get proper insight about the issue, but Ria Keburia Gallery is a place where they can gain salvation.

Everything new is forgotten old. Allen Jones’ Hatstand, Table and Chair sculptures directly appeared on my inspiration board. As an artist and a curator, I see art as a statement and each statement should have its own narrative. Home my Sweet Home contained the narrative of placing my home gallery team members as objects, emphasizing on equal love towards each individual. My interest is to tell a story through performance and then commercialize it. These themes are not new, but the way I portray them definitely is.

It is a constant struggle. My brand was converted into a gallery so I have to expose myself differently and at the same time attract the interest of other artists for collaborations. I tackle both art and fashion, which is a double path to follow. The art of storytelling is not that current nowadays but the stories I tell are vivid and have a clear chronology. As a collector and gallerist, with an artistic insight, I see myself as an entrepreneur of my own illusions.