Temuri kHvingia

Temuri Hvingija – “Metaphysical Inscape” 2025

Temuri Hvingija’s project “Metaphysical Inscape” brings together several different media — photography, 
printmaking, and installation — through which he explores the boundaries of identity and inner freedom. 
The exhibition forms a visual and conceptual dialogue between the inner and outer worlds: one slow and organic, 
the other intense and controlling. Faces, traces, and marks recur across the photographs, linocuts, and objects 
— all of them references to different layers of human existence: the physical body, cultural memory, 
and political pressure. For Temuri, a human is not a fixed constant, but in a state of endless change 
– in the cycle of birth, decay, and spiritual and physical deterioration, where everything repeats and contradicts itself.

The Green Space – Time, Erosion, and Return to Nature. 
The photographic series in which nature engulfs petrified faces serves as the first introduction to Hvingija’s inner landscape. 
The masks, left for years to the mercy of rain, moss, and snails, become self-portraits where identity has turned into relief 
— a crack, a patch of moss, or the trace of a snail’s slow passage.
Here, the portrait transforms into its opposite — an anti-portrait. 
The artist does not capture a person but their fading. The plants sprouting between 
the stone faces represent the final stage of self-realization: the personality dissolves into nature, 
becoming plant, soil, biological time. Temuri’s green photographs are aesthetically saturated 
— the tones are intense, almost toxic. This is not documentary nature but a landscape of consciousness, 
resembling a dream or a recollection. In front of these works, time no longer feels linear but cyclical, flowing. 
This is the essence of the project’s “green aesthetics” — slow erosion, organic decay, 
containing within it the inevitable fading of memory and identity.

The Graphic Section – Patterns of Cultural Memory
The linocuts lead the viewer into another register — symbolic and cultural. 
Two figures appear, graphic and ritualistic, almost icon-like. 
They may be saints, mythological beings, or simply collective variants of the self. 
This part of the exhibition refers to the artist’s origins and his connection 
to the mythological narrative “My Colchis – In the Footsteps of the Golden Fleece.
” The motif of Colchis is not a romantic retrospection but a journey into one’s own archetypes. 
If the green photographs speak of nature as the erosion of memory, 
then the linocuts deal with memory as cultural repetition — a tradition through which 
the individual seeks an anchor in history.
Here, the artist establishes balance within the exhibition: if the green works speak of forgetting, 
the graphic ones speak of remembering. The Red Zone – Freedom, Control, and Ideological Anxiety
This part of the exhibition opens up the space like an alarm. The installations are direct, 
even aggressive — a political metaphor made tangible. 
The classic emergency instruction is turned on its head: is freedom no longer salvation, but a potential danger? 
Temuri warns that even freedom can become an ideological weapon if not approached with responsibility.

Green and Red – The Tension Between Slowness and Urgency
In the exhibition hall, the organic time of green meets the political time of red. 
One speaks of continuity, the other of crisis. One calls for silence, the other shouts 
— yet both are parts of the same process. The green section shows how the human being merges with the environment 
and slowly disappears; the red section shows how the human is forced into a system and vanishes abruptly. 
Hvingija thus creates a dialectical field of tension in which the inner world and external control reflect one another.
This tension itself is the Metaphysical Inscape — not merely a psychological or political condition, 
but the fragile balance between the two. The project offers neither solution nor redemption. 
Temuri treats identity not as a fixed form but as a process that alternates between disintegration and renewal. 
Through his work, it becomes clear that existence is a constant negotiation between inner erosion and external pressure.

“Metaphysical Inscape” does not provide answers but invites the viewer to experience this tension within themselves. 
It is a journey through inner and outer space, where erosion and control, nature and system, breathe in the same rhythm 
— where identity does not end but transforms. The project neither moralizes nor instructs; instead, 
it allows the viewer to feel the tension within their own body and consciousness.