By David Zimmerman
In one of his political tracts Honoré de Balzac affirms “everything is form, and life itself is form.” It would be fair to say that the formal relationships within a work of art and among different works of art constitute an order for, and a metaphor of, the entire universe. Georgian artist Rusudan Petviashvili possesses a restless imagination that continuously explores the hidden threads connecting time, humanity, and the essence of existence.
What strikes me—beyond her stylistic assuredness and the embedded narratives that emerge from her imagery—is her profound engagement with fundamental ontological questions. Petviashvili aspires to lofty conceptual heights: her art delves into how we perceive coherence and ambiguity, probing the fine line between the shapes of people and objects and their energetic fields. Her visual language embraces the idea of permeable boundaries, emphasizing fluidity over containment. This interplay of porous forms and shifting limits becomes the dominant motif throughout her work.
Petviashvili’s lyrical figuration suggests a mythology of origins—one that celebrates not so much birth itself, but the ongoing process of becoming. As Walter Benjamin notes, “… [origin] emerges not out of stated facts but it touches, instead, upon their pre- and post-history.” In this spirit, her work presents figures that oscillate between the solid and the ephemeral, allowing the eye to penetrate through translucent spaces. Her approach evokes a distinctive aesthetic that channels both corporeal presence and ghostly intangibility. The result is an allegorical current that seeks to unearth the foundations of the medieval miniature while honoring feminine strength and vitality.
The qualities of permanence and energy that characterize Petviashvili’s imaginative world are as striking as her dedication to a realm teeming with ornamental flora and fauna—hybrid beings subject to mysterious laws of growth. In this lush symbolic terrain, where fantasy and reality converge, we encounter the enduring power of figurative form and the boundless potential of the imaginary.
Rusudan Petviashvil was born in 1968 in Tbilisi, Georgia. Her name was included in “2000 Famous Persons of the 20th Century,” published by the Cambridge Biographical Centre, reflecting her significant impact on the art world. Petviashvil has shared her artistic vision through a series of captivating solo exhibitions. From the charming towns of France to the cosmopolitan streets of London, Berlin, Geneva, Vienna, and Budapest, her art has graced the walls of many galleries. Her illustrative prowess extends beyond the canvas. She has contributed to beloved literary works such as the ‘National Fairy Tales of Georgia’ and the illustrious French edition of “The Knight in the Panther’s Skin.” In a remarkable endeavor between 1999 and 2000, Rusudan illustrated an exclusive handwritten New Testament blessed by the Georgian Patriarch. Now housed at the Cathedral of the Holy Trinity in Tbilisi, this extraordinary piece is the world’s largest handwritten copy of the Gospel.
Today, Rusudan Petviashvili’s art continues to resonate around the globe. Her journey celebrates creativity, culture, and collaboration as she intertwines her Georgia heritage with the wider world through her stunning artworks. The artist’s collaborations include Jacquet Droz and Rusudan Petviashvili Exclusive Project started in 2019. In 2022, the partnership was renewed, resulting in the creation of three exclusive timepieces: Strength, Eternity, and In the Light of the Moon. Rusudan Petviashvili also collaborates with a luxury German ceramics and tableware brand Villeroy & Boch.The brand has released porcelain decorated with the artist’s artwork and a limited-edition tableware collection titled “Love and Harmony in a Relationship.” In May 2025 Petviashvil exhibited at Kate OH Gallery in New York. Her upcoming exhibition “Blessed Are the Peacemakers” will take place at Artifact Projects in Manhattan.
Davis Zimmerman is an art writer living and working in Manhattan.