Temuri Hvingia's project “Metaphysical Inscape” brings together three distinct media — photography, printmaking, 
and installation — through which it explores the boundaries of identity and freedom. 
The exhibition forms a visual and conceptual dialogue between the inner and outer worlds: 
one slow and organic, the other intense and controlled.
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. 
Temuri does not depict the human being as a whole, but as a process — eroding, 
decaying, repeating, and self-contradictory.

The Green Space – Time, Erosion, and Return to Nature
The photographic series, in which nature swallows petrified faces, serves as the first introduction 
to Temuri’s inner landscape. 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, a snail’s glistening trail.
Here, the portrait transforms into its opposite — an anti-portrait. 
The artist does not capture a person, but their vanishing. 
The plants sprouting between these 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 — tones are intense, almost toxic. 
This is not documentary nature, but a landscape of consciousness, resembling a dream or a fading memory. 
Before these works, time no longer feels linear but cyclical, fluid. 
This is the essence of the project’s “green aesthetics” — slow erosion, organic decay, 
carrying 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 emerge, 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 Temuri’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 address memory as cultural repetition 
— a tradition through which the individual seeks an anchor in history.
Here, the artist establishes a 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 bursts open like an alarm. 
The installations are direct, even aggressive. Here, the political metaphor is explicit. 
The classic emergency instruction is turned on its head — is freedom no longer salvation but a potential threat? 
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 space, 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 individual is forced into a system and vanishes abruptly. 
Temuri thus creates a dialectical field of tension where inner experience and external control mirror each other.
This tension itself is the metaphysical inscape — not merely a psychological or political condition, 
but the fragile balance between them.

“Metaphysical Inscape” offers neither resolution nor redemption. 
It does not seek harmony but confronts decay and unease head-on. 
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 existenceis a continuous negotiation 
between internal erosion and external pressure. 
The strength of the exhibition lies precisely in this — it neither moralizes nor instructs, 
but allows the viewer to feel the tension within their own body and consciousness.