Biography

Born 1977 in Tbilisi, Georgia in family of M.D.-s, Konstantine (Kote) Mindadze lives and works in Amsterdam, the Netherlands and Tbilisi, Georgia. Only his mother ex-neurologist is also a painter. In early 1993 he moved to Holland to study art. From 1993 to 1995 worked at class of the renowned Dutch Painter Rob Verkerk in Alkmaar. In the years 1995–1999 studied Art and Design at Graphic Lyceum Amsterdam. Also - in the years 1995-1996 and short period in 99 at Gerrit Rietveld Academy in Amsterdam. At the beginning worked as Designer in several Dutch as well Georgian Publishing and Advertising companies as an Art Director. But,shortly returned to painting again. Is married with art critic/ historian – Catherine Kurtanidze. Since 2001 is a member of the Dutch Artists Union Arts Place in Amsterdam and since then permanently involved in various art projects. Since early 2004 has joined group of innovative contemporary Georgian artists TRAM (Transform Art Module). From 1996 his works were included on many group shows, fairs and art conventions worldwide. Later held some duo and solo shows in Europe and East Europe. In Tbilisi he is known as an author of four solo shows so far; Interpositions (2001) and Viodrome (2003) at TMS gallery, Untitled Works Collected (2004) at Airzena office and Infrared Show (2005) at New Art Union … Since 1997 his art works are acquired for the various private or corporate collections throughout the world; in Netherlands, Germany, Spain, Belgium, France, Norway, Georgia, Russia and US. Since 2006 till present works also as an Editor and art consultant at seasonal cultural magazine Khedi (View) in Tbilisi. Between 2006 and 2007 lived and worked in New York. In 2007 awarded with K&CO/WWIK Stipend – Amsterdam. Recently joined as member an art-society Arti Et Amicitae – Amsterdam.

STATEMENT A (Raw Creations of my invisible unions, illusion, order, fantasy etc...):

Infinite process of separation and re-union which means lifecycle itself is represented in my creations in form of fragmentation. Compositions which in my mind stand closer to the minimal architecture and its interior, are also the expressions how I imagine my perfect surrounding environments. I'm inspired by taking philosophical ideas and give them (geometrical) abstract visual meaning, by bringing the pieces in unity without altering the balance even in asymmetrical forms. I'm also trying to find the perfect separations with existing geometrical shapes to create new forms as a background and then spread another geometrical form on all sides of the units.

The painting is fractional, form - preserved. The piece comprising of separate elements forms a macro composition and is conceived as one of integral painting. The void between the elements is observed with geometrical accuracy. More precisely, it enables us to think and see the composition together and separately and imagine the world and universe in micro and macro conception. Each component bears deep loading and incites emotional feelings. In fact these are codes, deciphering of which leads us to infinity. Irrespective of the fact that the painting is very concrete, it bears a diverse charge. It is a cosmic world, where everything is dissociated into molecules and is united with absolute precision. It mainly expresses the space, emptiness in it, and its might.

I like to manipulate with the empty spaces or at least represent it that way no matter if it contains bitter conceptual content or not. Sometimes I encrypt them in associative forms and textures with various techniques I use. I'm working mostly in hundreds of studies and sketches as well directly to a canvas. My work can be premeditated as well expressive and vice versa. It can depend on many things I involve for the making composition to installation like f.e.; theme of the particular project/ series, story of stand-alone composition - texture and its hues - type of medium I'm choosing for, visual interpretation of a detail from a book I read - to music I listen, geographical locations can pretty much reflect on pieces, I traveled for years - its nature and circumstances, very seldom - people or societies known to me, which deserve interest or on the contrary protest and so on… subjects are endless …real or imaginary – they are infinite.

Compositions are enhanced with well studied color combinations and their thick layers of structures as the rest of the various media that is attributed immense significance, by the use of which character portraits and landscapes of associative origin are formed.

During the process of creation I deal mostly with aspects and criteria's such as: maximum purity, fineness and plainness, reached color, relief, exact shapes and form. If it comes to layering dry pigments then I'm taking safety masks and gloves in isolated space where I manipulate with: various chemical mixtures for various mineral, synthetic or organic pigments, their dosage and timings. Dry pigments are huge containers of visual vibrant color energy. It's specially challenging when I use them as top layers on oil or acrylic surface – that is what makes some paintings alive, moving or spinning.

1999 -2008 © Kote Mindadze