Thea Djordjadze’s temporary sculptural environments draw on the language of architecture, allude to modernist design, or echo the culture of her native Georgia. She combines a variety of artistic, industrial and unconventional materials to produce idiosyncratic works full of contrasts. Djordjadze frequently reconfigures her works for the duration of an exhibition to respond to the particularities of the spaces in which they are installed. Investigating institutional modes of presentation and display, she raises questions about how context influences the interpretation and perception of art.

The artist picks up the threads of the body of work created for her 2023 exhibition The ceiling of a courtyard at WIELS, Brussels, continuing to expand the vocabulary of her sculptural paintings and painterly sculptures. Previous works are choreographed anew and combined with her latest works in the context of the gallery’s eighteenth-century building and its original architectural features, which Djordjadze has transformed by blurring its spatial boundaries.

Typifying a fundamental element of her work, framing yours making mine is defined by the principle of all things being interconnected. In Djordjadze’s sparely staged shows, spaces and objects are constantly reconsidered: walls and floors are covered, benches and display cases are recontextualised, illustrating how an object is related to the thing in its proximity, the space surrounding it and the associations attached to it.

In consequence, viewers are directed to react to the architecture and move in certain ways: to consider the walls, windows, floor and ceiling. Djordjadze’s methodology for investigating the relationship between object and body is based on movement and motion. She thinks of sculpture as gesture, one gesture leading to the next.