Anton Balanchivadze "Gardens" 14 - 23.10.2018


 A garden is a specific cultural phenomenon. Its semantical programme comprises philosophic-religious and esthetical concepts. For a modern man growing a garden is an attempt to expand his personal space, escape urban environment, find or create a structured and ideal place, connect with the world’s archetype and interpret the mythological-religious or philosophical context of this topos.

In art this topic has always been important.  The programme and esthetics of a garden changed across time and place. In medieval centuries a garden was an organized system of signs, indexes and symbols which was like a reading book. Thus, a garden was often equaled to a book; books were called “gardens,” “limonaria,” whereas writers were referred to as gardeners which “created gardens of letters and words.”    The garden represented a micro scheme of the universe and identical and visible symbol of Paradise. Growing a garden and the desire to be there was perceived as an attempt to return to the paradise lost.

 Therefore, growing a garden is introduction of vision, cultural and esthetic model; if we don’t have a place or desire to grow a garden, then we lose a hope of harmonious existence in the world, because the consistency ratio between the man and the nature is broken, which eventually leads to ecological problems and psycholocial and cultural shock.       

 Let’s grow a garden within the gallery!

The project of our gallery envisages creating personal models of gardens, where artists, like medieval writers, represent the “gardeners.”           

 The first garden is “grown” by Anton Balanchivadze.

For visualization of the garden the artist resorts to a traditional mythologem: a landscape model with a triad of the earth, the sky and a creature, using a form of a fairy tale mystery and non-hierarcichal programme of totem, which implies equality and unuin of all creatures. He offers us magic gardens where forests are covered with mystery, trees and plants are a symbol of cosmogonous structure, and people and animals act according to a heraldic or narrative scenario. The artist sees the garden as a structure of the world that he deems superior: the harmony permeated with the tint of mystery unites the earth, the sky, plants, animals and human beings.  The artist’s programme that reflects a humanistic viepoint of the existence of the world is expressed by an image of the garden or created by the elements of the garden. He substitutes realistic compositions with abstractions where the motive of the garden is just indicated. Replacing the reality with abstraction allows the artist the freedom of action to turn the concept of a garden into a symbol where a rational approach turns into an irrational and emotional presentation and the specific topic into a universal value.  


Baia Tsikoridze