Interview with Nina Khatashvili
Given your transformative shift from banking to art at the age of 44, could you elaborate on the philosophical or existential considerations that guided this decision? What does this shift say about your views on destiny, self-fulfillment, and the notion of a 'calling' in life?
The shift from banking to art at 44 was the culmination of years of introspection and a growing realization that life’s true meaning comes from pursuing what resonates deeply within the soul. While my career in banking spanned nearly two decades, I often found myself searching for something more profound and personal—something that could ignite passion rather than merely serve as a livelihood. That search led me to art, a medium through which I could explore my inner world and communicate with others in a more authentic way. Philosophically, the transition was a recognition that fulfillment doesn’t always come from stability or societal expectations but from self-expression and creativity. It felt like I had to embrace a deeper part of my identity that had been patiently waiting. I believe we all have a 'calling,' but it's often masked by our circumstances or the demands of daily life.
As an artist who has absorbed influences from diverse cultural environments in America, how do you balance the integration of these varied perspectives with the preservation of your own cultural identity within your art? Can you discuss any specific works where this amalgamation or conflict is particularly evident?
Balancing the rich diversity of cultural influences I’ve encountered in America with my own cultural identity has been both a challenge and a rewarding creative process. I see my work as a dialogue between these different worlds, a fusion of the traditions and experiences that shaped me and the new perspectives I’ve gained through exposure to other cultures. At times, this integration feels seamless, as different artistic traditions complement and enhance each other. In other instances, there is tension, where the need to stay true to my roots clashes with the allure of exploring new ideas. This creative tension, however, often leads to the most dynamic pieces of work, as it pushes me to find harmony between seemingly disparate elements. One example is a painting ''Angels'' I did shortly after moving to the U.S., which contrasts traditional motifs from my homeland with abstract, contemporary forms inspired by the vibrant art scene here. The piece uses a rich color palette and intricate patterns that reflect my cultural heritage, while incorporating abstract shapes that represent the freedom and experimental spirit I’ve come to admire in American art. This blending of the old and new allows me to honor where I come from while embracing where I am now.
Considering your engagement with abstract art, in what ways do you think this genre allows you to address complex societal issues? Could you provide examples from your work where you have used abstraction to critique or highlight social, political, or cultural dilemmas?
Abstract art has always allowed me to approach complex societal issues in a way that transcends the constraints of literal representation. Its very nature—fluid, open to interpretation—creates space for viewers to engage with their emotions and experiences, often making them more receptive to deeper reflections on issues that are difficult to articulate through more traditional forms of art. One of the primary ways abstract art has helped me address societal concerns is by distilling these issues down to their emotional essence. Whether it’s the feeling of displacement, identity conflict, or even social justice, abstraction gives me the freedom to express these emotions in a visceral, non-verbal way. The chaotic, overlapping forms symbolize the polarization in society, where different voices and perspectives collide without resolution. While the piece doesn’t provide a clear narrative, the tension between the forms and the dissonance in the composition evokes the frustration many feel in the current climate. Another example is a work inspired by the immigrant experience, particularly themes of belonging and isolation. By using fluid, almost disintegrating shapes, I sought to depict the feeling of being caught between two worlds—of cultural assimilation and loss of identity. The abstract forms, coupled with a muted color palette, are meant to evoke a sense of longing and uncertainty, which I believe resonates with anyone who has ever felt out of place in a new environment.
Reflecting on your artistic journey, how have your personal interpretations of your mentors' philosophies (like Kandinsky, Joan Mitchell) evolved over time? How do you reconcile their artistic ideologies with your own evolving artistic ethics and aesthetics?
As my artistic journey has unfolded, the philosophies of influential artists like Kandinsky and Joan Mitchell have been a guiding force, shaping not only my technical approach but also how I view the deeper purpose of art. Kandinsky’s belief in the spiritual nature of abstract art—how color, form, and line could transcend material reality—was initially captivating to me. His philosophy aligned with my desire to express inner emotions and ideas that words could not adequately convey. Similarly, Joan Mitchell’s raw, emotionally charged brushwork taught me that abstraction is not only a visual language but an emotional and intuitive one, deeply rooted in personal experience. This shift reflects my desire to not only convey inner states but also comment on external realities. In this way, my work becomes a fusion of Kandinsky’s spiritual abstraction and a more grounded engagement with the world around me—something neither Kandinsky nor Mitchell explicitly pursued. Similarly, Mitchell’s emphasis on personal emotion and memory in her art has influenced me, but I’ve reconciled it with my growing interest in how collective memory and shared experiences influence artistic expression. Where Mitchell’s work is often deeply personal, I have sought to create pieces that resonate not just with my personal history but with broader human experiences, integrating themes of identity, displacement, and cultural belonging. The reconciliation of their artistic ideologies with my evolving aesthetics is a dynamic process. I hold onto the core belief that art should move beyond the physical to evoke something deeper, but I now infuse that belief with my own evolving understanding of how art interacts with the world. My work has moved from being inwardly focused—purely about emotional or spiritual exploration—to a space where it also engages with contemporary issues and connects to the viewer in a more collective, societal sense. In this way, I honor the philosophies of my mentors, but I allow them to grow and change within the context of my own artistic journey. Their influence remains ever-present, but it is tempered by my personal experiences and the evolving landscape of art and society.
You've expressed a preference for acrylics due to their versatility and dynamic range. Can you discuss in detail a particular piece where the technical properties of acrylics were pivotal in translating a complex emotional or conceptual idea into visual form?
Acrylics have always been my medium of choice, not only for their versatility but for the way they allow me to build layers of meaning through texture, opacity, and transparency. One piece in particular that relied heavily on the unique properties of acrylics is my work titled “Escape” This painting explores the emotional complexity of uncertainty—particularly the disorientation that comes with rapid personal or societal change. The technical flexibility of acrylics was crucial in expressing this concept. I used fast-drying acrylics to create multiple layers of uneven, textured strokes. The rapid drying time allowed me to build layer upon layer without the colors blending, a technique that gave the work a sense of disjointedness, as if various emotions or ideas were stacked on top of each other but never fully integrated. The jagged, textured layers evoke a feeling of unresolved tension, perfectly embodying the emotional complexity of the subject matter. I also employed the ability of acrylics to be thinned down with water to create semi-transparent washes. The sharp contrast between these moments and the more muted, layered areas provided a visual dynamic that reflected the emotional highs and lows we experience during times of confusion or transition.
From a psychological perspective, how do you approach the interplay of colors to manipulate mood and perception in your audience? Could you analyze a specific piece where you employed color theory to evoke a particular emotional response?
Color has always been central to my artistic language because of its profound psychological impact on the viewer. Each hue and shade carries its own emotional weight, capable of stirring emotions, triggering memories, and influencing mood in a subtle yet powerful way. I am fascinated by how varying combinations of colors can manipulate a viewer’s perception and draw out different emotional responses. In my piece **“You never No”**, for instance, I used a warm, vivid palette to evoke a sense of happiness and celebration. The foundation of the work is built on hues of yellow and red, which are often associated with energy, optimism, and warmth. I layered these with touches of cobalt blue and green to introduce a sense of passion and exuberance. The use of circular, rhythmic patterns in conjunction with these colors was intentional, aiming to mimic the cyclical nature of joy—how it builds, subsides, and reemerges in waves. The goal was to evoke a response that wasn’t just one-dimensional but rich and nuanced, allowing viewers to feel not just joy but the more intricate emotions that often accompany it. In this way, I rely heavily on color theory, not just as a tool for aesthetic harmony but as a medium through which I communicate and manipulate emotional depth. The way colors interact on the canvas whether they clash, blend, or stand in stark contrast creates the emotional narrative that guides the viewer’s experience.
With ambitions to integrate your artwork into interior design, particularly through bespoke wall paintings, what considerations do you take into account when translating a piece meant for a gallery into one designed for a living or working space? How do you anticipate the interaction between viewer, space, and artwork in these environments?
When translating my work from the gallery to a living or working space, my approach shifts significantly to consider the environment's functional and emotional demands. In a gallery, the art is typically the focal point, commanding attention with a sense of autonomy, whereas in a home or office setting, the artwork must harmonize with the surrounding design elements while still maintaining its presence. The scale of the piece is often the first consideration. In a gallery, large-scale works can be overwhelming, making a bold statement. However, in a living space, I focus on how the artwork can complement the architecture and spatial flow. I ensure the dimensions of the piece don't dominate the room but rather enhance the ambiance, creating a balanced relationship between the artwork and its surroundings. Color palette is another critical factor. In a gallery, I have the freedom to use bold, intense colors that might jar or provoke the viewer. In interior design, I’m more attuned to how my color choices interact with the existing decor, lighting, and mood of the space. Ultimately, my goal is to make sure the artwork serves both as a visual anchor and a harmonious complement to the daily life of the space.
How does starting an artistic career later in life influence your theoretical understanding of creativity? Do you think maturity brings with it a different kind of creative insight or constraint? Discuss how your life experiences pre-art have shaped these views.
Starting my artistic career later in life has profoundly influenced my approach to creativity. Maturity has brought both deeper insights and a certain freedom, which I might not have experienced had I pursued art at a younger age. Life experience has given me the clarity and perspective to approach my work with confidence and a sense of authenticity, unburdened by trends or external expectations. One of the key benefits of beginning later is the wealth of experiences I’ve accumulated over the years. My background in other fields—whether it be education, career, or simply life events—has enriched my understanding of the human condition, allowing me to draw upon a broader emotional palette in my work. This has resulted in more nuanced, layered works that speak to both personal and universal experiences. Maturity also brings a kind of creative liberation. Having lived through the complexities of life, I am less afraid of failure or judgment. This freedom allows me to take risks, experiment, and push the boundaries of my own artistic practice. I see it as a dialogue between the person I’ve been and the person I’m becoming. Through this lens, every piece I create is a reflection of both my past and my ongoing evolution as an artist.
Can you detail the chronological progression of your artistic style and the pivotal moments or projects that have marked significant developments in your technique? How have critical responses to your work influenced these evolutions?
My artistic style has evolved organically over time, shaped by a combination of personal exploration, external feedback, and exposure to new ideas. Early on, I was heavily influenced by the raw energy of abstract expressionism, with an emphasis on spontaneous gesture and emotional intensity. My initial works were bold, with aggressive brushstrokes and a strong use of contrasting colors. I was fascinated by the way paint could convey not just form, but the sheer intensity of emotion. One of the first projects where this technique truly came to fruition was a series abstract works that I exhibited in New York, which garnered significant attention for their bold interplay of texture and color. As my career progressed, I found myself drawn toward more subdued, thoughtful compositions. My use of color became more restrained, and I began to work in layers, building up forms and ideas over time.
Looking to the future, what are the long-term philosophical and artistic aspirations that you aim to achieve with your work? How do you plan to explore and integrate emerging themes or technologies into your art to keep it relevant and resonant with future generations?
As I look ahead, my long-term aspirations revolve around deepening the philosophical foundations of my work while also pushing the boundaries of how art can connect with viewers on multiple levels—emotionally, intellectually, and even spiritually. One of my core aims is to create art that transcends the present moment, speaking not only to our contemporary experiences but also to timeless human themes such as identity, memory, and the collective unconscious. Philosophically, I am drawn to exploring the tension between chaos and order, the visible and the invisible, and how these dualities shape our perception of reality. I see art as a means of navigating the complexities of existence, and my hope is to continue developing a visual language that allows me to communicate these ideas in increasingly nuanced and profound ways. This will involve more introspection into how personal stories can serve as a gateway to universal human experiences, as well as how art can act as a bridge between different cultural contexts. In terms of artistic technique, I am excited by the possibilities of integrating emerging technologies into my practice. Such work would invite viewers to become active participants in the creative process, blurring the line between artist and audience. Environmental sustainability is another key theme I plan to explore more deeply in the future. I believe that artists have a responsibility to address the pressing issues of our time, and climate change is undoubtedly one of the most urgent. I’m interested in working with eco-friendly materials and finding ways to create art that has a minimal ecological footprint. Beyond the physical materials, I want to create works that provoke dialogue around our relationship with the natural world, prompting viewers to reflect on their place within larger ecological systems. Looking to future generations, I want my work to resonate with audiences who are increasingly interconnected and digitally savvy. This means not only keeping up with technological advancements but also engaging with the evolving social, political, and cultural landscape. I plan to continue exploring themes of identity and community in a globalized world, as well as how art can offer a space for reflection, healing, and dialogue in times of uncertainty and division. Ultimately, my hope is that my work will inspire future generations to see art not just as an aesthetic experience, but as a tool for understanding the complexities of the world around us. I want to create pieces that encourage introspection, provoke thought, and offer solace—art that feels both deeply personal and universally accessible. By remaining open to new ideas, technologies, and collaborations, I aim to keep my practice dynamic, relevant, and continually evolving, ensuring that it speaks to the concerns and aspirations of generations to come.
