HOLAFILM N 45
Shotiko Aptsiauri
Series: Inside the Artist's Studio
Questionnaire according to the Joe Fig's book \"Inside the Artist's Studio\".
WHO
I am Shotiko Aptsiauri - artist. I work primarily in painting and installation mediums.
STUDIO
This is my summer workshop near Bazaleti lake. It's been not so long since I'm here and it's the first time in my life that I am working at the same place where I live. I always had a division between the studio and the home. For me somehow they had to be apart from each other. Studio is mystical place. It is like a monastery where you have to go and pray. But somehow here in Bazaleti studio - I still feel it, even though I'm at home. Probably because I have a bigger space and less things happening around, away from the city. This place is an experiment for me.
WORK
I don't like the idea of a professional artist. For me, working here is not a job. I think it's a bit boring to call it a job and come to studio only to work. But somehow the accumulated information that was collected outside the studio - in this white sterile space comes together more easily.
OTHERS
It is quite challenging for me to work with others. Or I would say - it is difficult for others to work in the same space as me. Let's say, if the painting I'm working on needs something - for example, some color, I can take this color and use it, and don't think that it's not mine or someone else might need it. Because if the work needs something, there is nothing more important for me at that moment. If my eyes have seen what I need, it is an urgent necessity - I take it.
INSTALLATION
Although most of the time those who work in the medium of installation - always somehow shy away from painting, my origin is probably still painting, but installation is no less important. Painting is just easier to do in studio mode. And working in other mediums takes a little more energy to accomplish. But if I could do installations as freely and as easily as I do paintings - I would work on it everyday. It just needs more organization, sometimes more finances - there are many issues.
FINANCES
One thing is that I think is that when you choose this field, you should be prepared for the fact that it may not work out for you. Now, at this stage, I can say that I may have some income from my work, if I don't have it sometimes - that's not a problem either. You can suddenly become a superstar. And other times there's nothing. But I like this contrast. Anyway art has another economy. You meet many good people, you see places, you gain experience.
TITLES
Titles come very easy to me. Sometimes suddenly. For example \"Cosmo is lost\" (Cosmo the dog was lost for couple hours during this interview). I try to arrange words poetically. Sometimes I take some book - I randomly pick up words and write sentences. It always comes out very related to the work I am doing. I have one work - it is called \"Cutting forest, building temple\" - I painted a painting and called it this name. I liked this name. And then I started to think about it, what is it? And I came to the dominance of man in relation to nature and this desire to dominate, where the temple is a more static desire - as if looking for a home, and how a person can lose this dynamic. Title took me farther than expected - I created installation.
MESS
When I am about to finish the work, the studio is already very messy. I don't like to tidy up in the process. I don't really have a time for that. But after I'm down with the work - it is necessary to clean studio so that it becomes very sterile and clean. I think it's a bit like doing things all day and then bathing. And that helps me a lot.
MUSIC
Sometimes I have it in the process, but if it bothers me - I turn it off. It depends on what I do and how I need it - or better to say how much my work does need it. Last time I was working I was listening to Susumu Yokota, then I switched to Prodigy, at some point I switched to classic - Bach. Then I turned the music off. Finally, when I was almost done with the artwork - I put on an alternative hip-hop - for kind of a celebration of completion.
WHAT IS YOUR ART ABOUT
The closest thing to my practice is the connection between something personal and general. How is this personal related to the general and vice versa. Which in itself is not a good statement because it might be too general. I don't know, maybe after some time I will know exactly. Now it is difficult for me to know things exactly in this life, in general.
August 2022
________________________________
© 2022 | HOLAFILM
All Rights Reserved | Marika Ejibia
საავტოროუფლებები | მარიკა ეჯიბია
www.holafilm.com
www.facebook.com/theholafilm
www.instagram.com/theholafilm/
/ @holafilm
Shotiko Aptsiauri
Series: Inside the Artist's Studio
Questionnaire according to the Joe Fig's book \"Inside the Artist's Studio\".
WHO
I am Shotiko Aptsiauri - artist. I work primarily in painting and installation mediums.
STUDIO
This is my summer workshop near Bazaleti lake. It's been not so long since I'm here and it's the first time in my life that I am working at the same place where I live. I always had a division between the studio and the home. For me somehow they had to be apart from each other. Studio is mystical place. It is like a monastery where you have to go and pray. But somehow here in Bazaleti studio - I still feel it, even though I'm at home. Probably because I have a bigger space and less things happening around, away from the city. This place is an experiment for me.
WORK
I don't like the idea of a professional artist. For me, working here is not a job. I think it's a bit boring to call it a job and come to studio only to work. But somehow the accumulated information that was collected outside the studio - in this white sterile space comes together more easily.
OTHERS
It is quite challenging for me to work with others. Or I would say - it is difficult for others to work in the same space as me. Let's say, if the painting I'm working on needs something - for example, some color, I can take this color and use it, and don't think that it's not mine or someone else might need it. Because if the work needs something, there is nothing more important for me at that moment. If my eyes have seen what I need, it is an urgent necessity - I take it.
INSTALLATION
Although most of the time those who work in the medium of installation - always somehow shy away from painting, my origin is probably still painting, but installation is no less important. Painting is just easier to do in studio mode. And working in other mediums takes a little more energy to accomplish. But if I could do installations as freely and as easily as I do paintings - I would work on it everyday. It just needs more organization, sometimes more finances - there are many issues.
FINANCES
One thing is that I think is that when you choose this field, you should be prepared for the fact that it may not work out for you. Now, at this stage, I can say that I may have some income from my work, if I don't have it sometimes - that's not a problem either. You can suddenly become a superstar. And other times there's nothing. But I like this contrast. Anyway art has another economy. You meet many good people, you see places, you gain experience.
TITLES
Titles come very easy to me. Sometimes suddenly. For example \"Cosmo is lost\" (Cosmo the dog was lost for couple hours during this interview). I try to arrange words poetically. Sometimes I take some book - I randomly pick up words and write sentences. It always comes out very related to the work I am doing. I have one work - it is called \"Cutting forest, building temple\" - I painted a painting and called it this name. I liked this name. And then I started to think about it, what is it? And I came to the dominance of man in relation to nature and this desire to dominate, where the temple is a more static desire - as if looking for a home, and how a person can lose this dynamic. Title took me farther than expected - I created installation.
MESS
When I am about to finish the work, the studio is already very messy. I don't like to tidy up in the process. I don't really have a time for that. But after I'm down with the work - it is necessary to clean studio so that it becomes very sterile and clean. I think it's a bit like doing things all day and then bathing. And that helps me a lot.
MUSIC
Sometimes I have it in the process, but if it bothers me - I turn it off. It depends on what I do and how I need it - or better to say how much my work does need it. Last time I was working I was listening to Susumu Yokota, then I switched to Prodigy, at some point I switched to classic - Bach. Then I turned the music off. Finally, when I was almost done with the artwork - I put on an alternative hip-hop - for kind of a celebration of completion.
WHAT IS YOUR ART ABOUT
The closest thing to my practice is the connection between something personal and general. How is this personal related to the general and vice versa. Which in itself is not a good statement because it might be too general. I don't know, maybe after some time I will know exactly. Now it is difficult for me to know things exactly in this life, in general.
August 2022
________________________________
© 2022 | HOLAFILM
All Rights Reserved | Marika Ejibia
საავტოროუფლებები | მარიკა ეჯიბია
www.holafilm.com
www.facebook.com/theholafilm
www.instagram.com/theholafilm/
/ @holafilm
