Kweiseye is an art criticism blog written by Tom Kwei. If you enjoy this article, browse the archive here for more than 60 other critiques of both artists and exhibitions. Any questions/queries/use: email@example.com.
A polymath of his time, David Kakabadze was not only a visionary avant grade painter, but an art scholar and innovator of cinematography. Within his sparse depictions there comes breathing room for his affecting technique. His imagery a subtle meld of leftist techniques and his native Georgia.
Rioni Power Station (1931)
There comes a modern oddness to this painting. It feeling near inconceivable on initial viewing that it has crept from way back within the 1930s. Not only does the anachronistic sense stem from the small, soft concrete of the bridge that feels sharper than it has anything right to be, but via the mountains too, their base, expressionistic patches of surprisingly few shades creating a landscape more affecting than inspiring.
Nothing is given too much definition. The forests darkened deposits rather than detailed leafy canopies. At the top left there stand two solitary trees as guardians, the duo being of only a few trunks visible. Above this all the sky, stark in its realism, only serves to highlight the somewhat Fauvist approach to colours that Kakabadze has adopted. His world a take on the world rather than a fitful representation.
In spite of the blocky discipline though, movement does seem to dribble through here. The sun above falling majestically against the cleft of the world behind the power station, a single ridge, to which another tree watches, lying completely shadowed whilst the rest behind blazes indifferently on.
Whenever faced with a Cubist image like this, I always scour the thing for traces or hints to which the title could be alluding to. It’s always best to initially center yourself this way I find, with Sailboats being an easy task for its sharp angles intersecting that resemble as masts. There also occurs small waves on the Sailboats, tiny ripples of water occurring within the white fold shape of the folds. There is little else to engage though.
The boat feels pinned up on the grey to be examined, a specimen. An origami rearrangement whose center folds inward, inverting the colours. This semi transparent shade behind is particularly well realised, the shapes below still visible and submerged beneath. Sailboats a simple puzzle of mental assembly that grows more complex as the subtle patterning of suggested colour are imagined.
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