While Berlin-based Thea Djordjadze’s practice centers on sculptural concerns, it also deals in a language of rhythm and movement that frames the performative aspects of an artist’s production process. Djordjadze’s works are often at odds with the fragility of the plates, clay, or other materials she commonly employs, yet she avoids the irony usually associated with their offhand use. Her handling is sincere and refreshing, calling for an interpretation that goes beyond a simple identification of anonymous shapes and happenstance configurations. Her use of hard materials—usually metal or