Nino Kipshidze, a prominent textile artist and founder of the Georgian Textile Group (GTG), shares insights into her artistic journey and creative process. Her interest in textile art was ignited by architect Viktor Jorbenadze's collection of felt cloaks adorned with Tushetian patterns and an Eastern Georgian wall covering made from leftover yarn scraps. A memorable piece from this collection featured two deer at a spring, intricately cut from single-colored cotton fabrics.
Nino also recalls being deeply inspired by the rare "Tikvi" layer from Tengiz Mirzashvili's collection, created by Sido Chabukaidze in 1925, and Manana Tavadze's series of Georgian flags. Her initial fabric work included quilted wall hangings, blankets, and dolls made for her children, where she experimented with fabric appliqués and pressed faceted patterns. During her time in the USA, she expanded her skills by working on small-scale fabric collages and participating in workshops on handmade paper-making, fabric dyeing, and printing techniques.
Nino describes her work process as akin to easel painting, where each cut piece of fabric acts as a stroke of paint. She strives to reveal the unique aesthetics of each fabric fragment—its texture, color, design, and informational layer. Her goal is to convey a specific impression or mood while maintaining the handcrafted and decorative essence of applied art.
Nino draws constant inspiration from the work of Georgian artist Pirosmani, admiring his ability to create highly expressive imagery with minimal brushstrokes. His use of the canvas's texture and the black hue of oil-cloth continues to surprise and delight her.
Nino Kuprava, Director of the State Silk Museum, reflects on her journey from being a student at the Academy of Arts to becoming a prominent figure in the textile art world. Initially trained as an artist-technologist for the textile industry, Kuprava was apprehensive about her future in the exhibition space. However, her interest grew as she immersed herself in technology lectures and the fine line between craft and art, particularly in textiles. Over time, she came to believe that textile creations are often works of art in their own right.
Kuprava draws inspiration from her daily life, surroundings, and a deep interest in global events. Her passion for textiles led her to co-found the Georgian Textile Group (GTG) with Nino Kipshidze and Nino Chachkhiani in the early 1990s. Despite the challenging times, GTG marked Georgia’s entry into the international textile art scene. The group participated in global textile exhibitions and conferences organized by the European Textile Network (ETN), expanding their reach and influence.
The GTG's home became a creative hub, welcoming international artists and experts for workshops and masterclasses. Recognizing the need for a dedicated workspace, Kuprava and her team set out to establish a place where artists could exchange ideas and practices, further enriching the textile art community.
Tina Kldiashvili, the Head of the Textile Design Department at Tbilisi State Academy of Arts, shares her journey into the world of textiles. When she joined the academy, the textile program was newly established as part of the Decorative-Applied Arts Faculty, introduced in 1960/61 under the leadership of Mr. Apolon Kutateladze. This new faculty played a crucial role in safeguarding the academy during a politically tumultuous time, enriching its academic offerings and ensuring its future. Kldiashvili and her peers were trained in a variety of fabric painting techniques, including batik, and mastered the art of carpet and rug making, drawing from both traditional and contemporary methods. Tapestry weaving was also a specialized skill taught at the academy, with masters like Givi Kandareli and Tamaz Nutsubidze leading the discipline.
The textile artist also discusses the rich history of silk production in Georgia, once recognized for its high-quality textiles. However, many factories were shut down during the economic downturn of the 1990s, halting fabric production. Despite these challenges, Kldiashvili has been instrumental in reviving traditional Georgian textile crafts.
One such revival project is the blue tablecloth, a significant artifact in Georgian textile history dating back to the 17th and 18th centuries. The technique for creating these tablecloths was imported from the Far East, with roots in India and Indonesia, and involved using indigo dye and wooden molds to create intricate patterns. These tablecloths, adorned with motifs like the deer, the tree of life, and various religious symbols, were considered luxury items for the nobility. Production of these tablecloths ceased for about two decades until 2011, when Kldiashvili and her team at the academy felt compelled to revive this traditional craft, ensuring its place in contemporary textile art.
Publishing and concept: Thea Goguadze (Tea Nili)
Editor of the edition: Mariam Shergelashvili
Design: Irina Kacharava, Istudio
Translation: Ketevan Uchaneishvili
Cover (English): Mariana Chkonia
Happy New Year!
