- Ketevan Gvinepadze
Seep considers formation as a process shaped by an accumulation of forces, both visible and imperceptible. Bringing together images of geological formations and portraits situated within particular interiors and environments, the work looks at formation on both a landscape and a personal level.
Circumstances, surroundings and interactions gradually shape what emerges: physical elements act upon a landscape just as places, relationships, culture and lived experience become part of how a person occupies and responds to the world. Rather than understanding form as something predetermined or complete, Seep approaches it as provisional - continuously produced through what is given, what is encountered and what intervenes over time.
The publication extends this idea through its material form. Printed on textile rather than paper, its pages bend, fall and continually reshape themselves as the object is handled, while the photographic images remain fixed.
Artist publication, 2026
15 textile leaves / 30 pages
14 photographic works
Sublimation print on deadstock textile
Laser-cut and hand-bound
21 × 30 cm
Edition of 10, signed and numbered
Presented at InCadaqués Photo Festival 2026, Cadaqués, Spain, alongside the exhibition of Georgian photography featuring Dina Oganova and Teona Gogichaishvili. A dedicated book signing took place as part of the festival programme.
Interior cities - continuous visual narrative
When I look at Ketevan’s selection of images, I think of Anaïs Nin and her phrase, which goes something like this: Messages are transmitted by the eye, sometimes without words at all…
I feel the same way, at a glance completely foreign worlds collide with each other: fragments of delicate nudes, blown out candle on a birthday cake, bust of a saint in the cut, yellowed family pictures from the old times, a lion figurine from fair and many other images that seem to come from different worlds.
Yes, certainly they are different worlds that we all carry within us, that Ketevan carries within herself and comes to the surface depending on the phase of life and the mood of the day.
These images are at the same time like daydreams, excerpts from a diary, or even projections of their own mental state, sometimes melancholic, thoughtful, erotic, tender, playful. They are like visual narratives that do not necessarily need a fixed beginning or end. The images are in a constant process of transformation. This makes me think of Anaïs Nin again and her sentences: “I have the power to multiply myself. I am not only one, but many women.”
Teona Gogichaishvili, Visual Artist / Curator / Tutor