Berlin-based Thea Djordjadze spins a web of quiet contemplation in Sprüth Magers’ exquisite 18th-century home in London.
Djordjadze’s fluid creative process is led by the space available to her, with an amalgamation of often mundane materials imbued with an otherworldly, occasionally eerie, aura when recontextualised. In the past this has taken shape in the creating of a clinical and domestic environment which draws on her experience of growing up in Communist-ruled Georgia, its sparse lines and architecture rethought as minimalist silhouettes in foam, sponge, plaster and wood.
