glasgow

Thea Djordjadze, Other Echoes Inhabit the Void (detail), 2011, foam, plaster, paint, papier-mâché, stainless steel, steel, 36 x 20 x 19 5/8".

Thea Djordjadze

The Common Guild

Thea Djordjadze, Other Echoes Inhabit the Void (detail), 2011, foam, plaster, paint, papier-mâché, stainless steel, steel, 36 x 20 x 19 5/8".

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 wood—alongside soft, gestural renderings evinces a dialogue that concerns form as much as the act or gesture performed to create it.

In her recent exhibition “Lost Promise in a Room,” at the Common Guild—an autonomous exhibition space housed on two floors of Douglas Gordon’s upmarket

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