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Press Kit | no. 2125-02
Press release only in English
Valerie Goodman Gallery in New York is pleased to debut a custom, capsule collection of furniture, lighting and wallpaper within a fully immersive environment created by interior and architectural designer Tinatin Kilaberidze this October.
"If I have to connect two dots, I will always use the shortest path," says the multi-talented designer. However, in her view the preference for the straight line - or the sharp edge - is not at all in conflict with a deep love for the organic: "Nature has three elements; simplicity, geometry and balance," she explains. The spiral, the hexagon and the sphere for example, are not a rational imposition onto an unruly natural world, but rather a part of nature itself - these geometric principles are embodied in the nautilus, the honeycomb and the planet.
Kilaberidze's grand console with its concertina base may employ the aesthetic power of stark angles but it also revels in the beauty of unadulterated wood - quite a lot of it, used with the same lavishness as the fabric of a full skirt from Dior's New Look era. It took her three months to find the right piece of ash and a few more for her master carpenter to build it. With its powerful square base, Kilaberidze's pentagon table also exudes solidity and boldness, while her very slender bench seems as simple and delicate as a pencil sketch - it is actually made from three kinds of wood, their different colors appearing almost ornamental within her minimalist repertoire. A fluffy lambs wool cover softens the skinny settee, adding another tactile dimension to the smooth wood with its satiny sheen.
It is Tinatin Kilaberdize's upbringing in Tblisi, a city located along the ancient Silk Road that opened her eyes to the art and design of East and West in equal measure. "Both have a sense of balance and both use the golden mean," she says. Each possess a strategy of disciplining and idealizing nature, and the designer is fluent in both design traditions. She has dually been inspired by Shaker and Chinese furniture, but while Chippendale admired the latter and added his own flourishes, she always subtracts. Only a fraction of a curve from a Chinese chair - or from the bow of a Viking ship - would make it into her own designs. With their sensitivity for the intricacies of nature, these designs are strictly functional. To this designer the superfluous is painful, while the splendor of highly refined yet pure materials is essential.
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