About Matiko

Matiko Mamaladze creates art. She also teaches it, feels it, breathes it, dreams it, and finds herself in it. Raised in a family as richly saturated in art as her paintings are in color, this passion was almost inevitable. Her works are enchanting on many levels; they depict beautiful, emotionally vivid stories, played out by characters that masterfully draw empathy from the viewer. Even when she isn’t holding a palette and brush (or just as often, a palette knife), Matiko is immersed in her unique perception of the world – a perception that almost always finds its way onto her canvases.

Different things inspire me, — people, nature, mood or simple everyday events.

Painting in emotions, colors, and moods stirring the soul, when painting, Matiko Mamaladze feels strongest, happiest – free. Her figures don’t cast shadows, intentionally: “I find life mystical, dreamlike, and my subjects float in space,” she says. Raised in an artistic family, Matiko’s blood is saturated with linseed oil. She begins painting abstractly, large masses and shapes leading her to concrete compositions. This reflects her life, where nothing is certain. “It’s self-sculpting; I simply guide it along,” describes Matiko. “There are no sketches or plans. Canvas is the surface upon which I create the future with my heart, mind, and brush.”

I find life mystical, dreamlike, and my subjects float in space.

“Different things inspire me,” says Matiko Mamaladze, — “people, nature, mood or simple everyday events.” Matiko’s work is figurative and centers on subjects, which she finds unique and interesting. “I try to express their internal nature, using colors and emotional line, avoiding a simple copy, and the feeling born within the painting is of primary importance to me.” Often entirely executed with a palette knife, a method which many artists don’t even dare to use, Matiko’s works create and illusion of velvety, paint-saturated third dimension, where color – not the light – creates the shape, baffling the sense of perception. Matiko doesn’t like to do preliminary sketches; when she starts, her only concern is to build an emotionally charged and deeply meaningful scene. Then comes compositional balance and technical skill.