Peripheral ARTeries // Contemporary Art Review // Special Edition

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Special Edition

Contemporary Art

Peripheral ARTeries meets

Angelina Damenia Lives and works in Tbilisi, Georgia

Artist Angelina Damenia's work provides the viewers with an intense, immersive visual experience:her body of works that we'll be discussing in the following pages, successfully attempts to trigger the viewers' perceptual parameters walking them through the liminal area in which perceptual reality and the realm of imagination find a consistent point of convergence. One of the most impressive aspects of Damenia's work is the way it accomplishes the difficult task of questioning contemporary visualization practice in reference to Contemporary Abstract art movement: we are very pleased to introduce our readers to her stimulating and multifaceted artistic production.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

in 1989 the Ministry of Culture of Georgia has created the special commission which has examined my works and has made the unprecedented decision — in view of special endowments I was admitted to Academy of Arts without entrance examinations and defined on theoretical faculty that external practical influence didn't influence natural development of my own style and didn't prevent me to be created independently. Therefore my achievements in the sphere of painting are reached without the management and control. Theoretical preparation has helped me to be realistic about my direction. I determine the style by the term Intensivism. Pure abstraction — not figurative art, interaction of the line and color which I have complemented with a form and internal contents; it includes some moment of conceptualism. Art for me — life, beauty

Hello Angelina and welcome to Peripheral ARTeries: we would start this interview with a couple of questions about your multifaceted background. You have a solid formal training and you degreeded in Fine Arts History and Theory from the Tbilisi State Academy of Arts: how did this experiences influence the way you currently conceive your works? And in particular, how does your cultural substratum inform the way you relate yourself to art making and to the notion of beauty? For me a great honor and joy to provide information on me and my creativity on pages of your edition. Several words about history of my education: