two figures

Irinka Talakhadze’s latest large-scale painting teeters on the edge of the seen and the sensed, a piece that dares you to look again and again—and still not know quite what you’re looking at. In her signature, deft brushstrokes, Talakhadze layers subtle shades and shifting textures, crafting a world where faces and forms flicker just beyond recognition, only to dissolve into abstraction the moment they come into focus. It’s a haunting, almost hypnotic interplay, somewhere between figuration and dreamscape, that feels less like a straightforward painting and more like a fragment from memory’s hazy reel.

In Talakhadze's work, the real and the imagined live side by side, each bleeding into the other with an uncanny fluidity. Just as soon as you think you’ve settled into one interpretation, the shapes slip away, beckoning you into another layer of perception altogether. This piece is less about capturing a fixed image and more about navigating the uncertain, shifting terrain of human experience. It’s a bold addition to any room, challenging the viewer to suspend certainty and surrender to the sheer allure of ambiguity.

In Talakhadze's words:
"What fascinates me is the phenomenology or the relationship between something and its essence. Between what we really see in reality and what an image makes us believe. Or how utopia and dystopia, or happiness and sadness, can be contained in the same image. By better understanding the world around us, we also gain more insight into ourselves.”