You are originally from Georgia: what do you remember about your country of origin on an artistic level ?

As an artist from Georgia, I have vivid memories of the profound artistic heritage of my country. Georgia boasts centuries-old traditions in visual art, from the intricate Byzantine frescoes in its churches to the stunning folk art, textile designs and traditional music. These elements have deeply influenced my work. 

Do you refer to Georgian artists in your artistic practice, and if so, who ?

I don’t refer specifically to Georgian artists in my work, but rather to the rich heritage and culture of Georgia. My inspiration comes from the deep traditions of Georgian history — such as the intricate Byzantine frescoes, and the vibrant patterns found in folk art. The spirit of Georgian culture — its deep connection to the land, the mystical elements of its history and the timelessness of its artistic traditions — is what I aim to reflect in my work. I also feel a connection to the oriental spirit that has shaped Georgian culture over the centuries, influencing its art, music and architecture.

Growing up in Georgia, I was surrounded by these artistic expressions, and they continue to be a constant source of inspiration. Now, living abroad, I find myself incorporating these traditional elements into my practice. By using collage and combining imagery from both the ancient past and modern life, I aim to create pieces that evoke a sense of timelessness — a link between the historical and the present day, and a tribute to the cultural richness of my homeland.

What artistic training did you follow and when did you start exhibiting ?

I began my artistic journey at the Art School and then at the Academy in Tbilisi, where I focused on classical techniques. This traditional training, although somewhat restrictive in its emphasis on technical skill over innovation, provided a strong foundation for my work.

Later, at the Rietveld Academie in Amsterdam, I encountered a different environment that encouraged freedom of expression and artistic exploration. This shift allowed me to embrace my own artistic voice.

I started exhibiting my work in Tbilisi, and after moving to Amsterdam, my exhibitions expanded to an international audience, continuing to grow both in Georgia and abroad.

You have been living in Luxembourg for several years now; under what circumstances did you arrive in Luxembourg and what led you there ?

I moved to Luxembourg in 1998 when my husband relocated for work. At the time, it was a significant life change, but I immediately fell in love with the country. Luxembourg’s blend of multiculturalism, rich history and beautiful landscapes made it feel like a new home for me. 

Over time, Luxembourg has become my second home and living here has given me the space to grow both personally and professionally. It has also been a place of inspiration for my work, offering me the opportunity to connect with an international community while remaining deeply connected to my Georgian roots.

You currently have a beautiful solo exhibition at the Nosbaum Reding Gallery. Could you tell us about this recent work, the aspects that characterise it and the way you work ?

It’s an honour for me to exhibit my works at Nosbaum Reding Gallery, a leading gallery in Luxembourg and abroad. The project Portraying the Universe is an evolution of my earlier work, Minimal-Complexity, in which I explored minimalism through the lens of complexity. In that series, I aimed to deconstruct the clean, solid lines of minimalist structures and reveal the nuanced layers that often go unnoticed. The idea was to challenge the simplistic exterior and expose the deeper, more intricate realities beneath. 

With  my new project, Portraying the Universe, I expand on this concept, moving beyond it to focus on the human form and its relationship to the universe.

In this new series, I’ve chosen to represent human portraits as a symbolic framework. By embedding landscapes and cosmic elements within the contours of the human figure, I express my belief that the boundaries between humans and the universe are not distinct —they are interconnected. Each portrait becomes a metaphor for the vastness and complexity that lies within each individual, highlighting human beings  as a reflection of the universe and vice versa. The human form is not only a vessel, but also a universe in itself.

One of the key aspects of this work is the use of space — how I combine the seemingly rigid simplicity of geometric forms with the flowing, organic patterns of nature, galaxies and star systems. I aim to visually articulate the paradox of how the smallest and the largest entities, from the structure of an atom to the expanse of the cosmos, mirror one another in their complexity and interdependence.

Ultimately, the work speaks to an essential truth: that understanding and embracing our interconnectedness with the universe is vital to our personal and collective growth. We are not separate from the cosmos; we are part of it. And in recognising this, we can change the way we interact with one another and with the world around us, fostering peace and harmony.

Your work is based on spiritual foundations, especially the connection between the infinitely small and the infinitely large. What are the sources of this spirituality and how does it inspire your visual creation ?

My work explores the concept of interconnectedness, focusing on the relationship between the infinitely small and the infinitely large. Inspired by spiritual philosophies and quantum physics, I believe everything is part of a greater whole, transcending physical boundaries. Eastern philosophies, with their emphasis on unity, and the insights of quantum physicists, who reveal how everything is connected at a subatomic level, deeply influence my approach.

I express this interconnectedness through collage, juxtaposing objects of different sizes and contexts. By placing a tiny seed next to a celestial body, or a human figure next to a star, I challenge the distinction between the large and small, the near and the distant. These shifts in perspective remind us that our understanding of the universe is often limited and relative.

Through my work, I aim to inspire others to reconsider their perceptions, to embrace the unknown, and to realise that what seems small may be part of something much larger.

In summary, my work is inspired by a profound spiritual understanding of unity and interconnection. By decontextualising and recontextualising familiar objects, I aim to offer a visual experience that encourages viewers to reflect on the relativity of their own perceptions and the vast, interconnected web of existence.

When one looks at the artistic objects you make, one thinks of very different histories or genres, sometimes very distant in time, such as still lifes or medieval miniatures. Do you agree with this or not ?

Yes, I do agree with that observation. My work often reflects influences from very different periods of art history, such as the still lifes of the Flemish painters or the iconic images from the Cinquecento period. I am deeply inspired by the work of Italian artists from the Renaissance and I find that their intricate symbolism and the richness of their compositions resonate with me.

In my practice, however, I translate these historical references into a contemporary language. By using collage techniques and incorporating cut-outs from modern magazines, I create a bridge between the past and the present. This method allows me to explore the concept of time as a fluid, non-linear experience — almost as if my work becomes a form of time travel, where the Byzantine, Renaissance, and Flemish periods coexist with our current moment.

By combining historical references with contemporary imagery, I aim to challenge the conventional notion of time, illustrating how past influences continue to shape and inform our present. In this way, my collages become a dialogue between eras, highlighting the ways in which history and modern life are interconnected and constantly reinterpreted.

Your artistic practice is also protean: video, painting, collage… How do you choose the most appropriate medium to give form to your expression?

I often switch between different media depending on what I want to communicate. Each medium has its own unique language and way of conveying meaning, so the choice of medium is very much tied to the message or feeling I wish to express at a given moment.

When I move from one medium to another — whether it’s installation, video art or painting — it feels like I’m shifting gears in my mind. Each time I work in a new medium, I need to ‘move’ my brain in a completely different direction, almost like rotating it 180 degrees. It’s a mental reset, but it’s also incredibly liberating. This constant switching between media gives me a great deal of freedom in my expression.

I remain open to exploring any new medium because I firmly believe that art should have no boundaries or limits. Each new medium offers fresh possibilities and challenges, and I find that flexibility invigorates my creativity and keeps my work evolving. For me, the medium is simply the instrument to convey what I want to say, and I choose the one that best suits the idea or concept I’m exploring at the time.

Finally, what would you say to the public who do not yet know your work to convince them to visit your exhibition?

I invite the public to visit my exhibition with an open mind and a willingness to explore new perspectives. Portraying the Universe is an immersive journey that connects the seemingly distant worlds of human experience and the cosmos. Through my work, I aim to show that the complexity of the universe is reflected in each individual and that we are deeply connected to the vastness around us.

I invite visitors to experience a blend of history and contemporary thought, where past and present meet in unexpected ways. My collages, paintings and installations are an opportunity to reflect on our relationship with time, perception and the world. They encourage a deeper understanding of our place in the universe and the responsibility we have towards each another and the world we inhabit.

It’s not just about looking at art, it’s about engaging with it — discovering the hidden connections, challenging your perceptions and perhaps seeing the world from a new perspective. I believe that art has the power to provoke thought and conversation, and I hope my exhibition offers that kind of experience.

The exhibition Portraying the Universe by Irina Gabiani, is open until 29 March 2025 at Galerie Nosbaum Reding.