Untitled 2018

Curator: This delicate drawing, simply titled "Untitled," was created in 2018 by Alevtyna Kakhidze. Rendered in ink, the work utilizes a sparse yet expressive line technique. What strikes you most upon seeing this piece? Editor: It has a childlike innocence, almost like a playful inventory of everyday objects. There’s a vulnerability to the thin, tentative lines, but also a sense of humor. I’m drawn to the way these seemingly disparate elements are arranged. Curator: Kakhidze’s practice often weaves personal narratives into her exploration of contemporary Ukrainian society. The composition offers us clues: notice the details, like the wall outlet and the objects scattered across the picture plane, and what might they signify in the broader context of Ukrainian life and art? Editor: Absolutely, there's something both deeply personal and intensely political about it. The contrast between the natural—the plants, perhaps representing growth and resilience—and the manufactured—the electrical outlet and block with text on it which seems to say "August"— creates a subtle tension. It is as if the artist questions whether our future will have something natural or technical about it. The juxtaposition could speak to a larger societal struggle between tradition and modernity, and it really does encourage a questioning of our present values. Curator: Yes, there’s also the question of the "Untitled" nature of the piece itself, it lacks context in that way. Its title invites open interpretation, and positions it less as a declarative statement and more of an open-ended reflection. This deliberate lack of specific naming could encourage diverse interpretations based on varied social and political view points. Editor: Exactly. It refuses to be pinned down to a single meaning. For me, it's a gentle yet firm reminder to look closer, to question the structures that shape our reality, and the items that fill our homes. What about you? What stays with you as you ponder its place in art history? Curator: Its apparent simplicity is deceptive; it challenges the monumental and the overtly political artwork. I also feel, for the objects portrayed, and the lack of figures, there is an important level of self-portraiture. In our reflection upon this image we can start to build a critical lens with which we can interpret all facets of the world.