Simon Adjiashvili - Forgotten Room

The Forgotten Room was created in a year of waiting. Waiting as a mental state, is
present in all the exhibition's paintings. These interiors are images of a temporal
experience. Waiting is an experience of the emptiness of time. It is an experience of no-
action in which consciousness is facing a certain threshold – of the past and the future. The
concrete present eludes it, and a different state of becoming emerges. Times goes by and
space extends. The private architecture of the room opens up towards inner spaces.

The Forgotten Room is an exhibition of fragments and partial views. The walls, the
doors, the windows and the corridors limit or reveal the visibility of the space and manage
our orientation within it. However, as soon as we notice where to look, the space seems to
mislead us. Along with its perspectival structure, layers of light and color open up other
spaces and create a feeling of displacement.
The paintings create a transformative experience, in which the here and now of the
present open up different, intimate and meditative spaces. The present is anchored in
careful attention to the details of reality, such as the sight of a table and the grapes above it,
drapery or the view outside the window. It is a view of a contingent world that follows its
own rules. In the world of the interior painting, the rules are different.

Inside these quiet and still spaces, a choreography of lights and shadows appears
and an intensive inner movement begins. Light invades the space or illuminates it softly; the
darkness of the shadows covers or draws things into the danger of disappearance. The
mirrors in some of the paintings reflect what the painting does not mean to show, but still
shows.

The spaces of the painting create access into it, yet block it at the same time. They conceal
and reveal simultaneously and remind us that space is actually a riddle. It is an experience of
a reality that asks for observation and attention, it is a space of memories and the fear of
oblivion.