“Jibit Nagavi Damaqv” or “I carry debris in my pocket.”
This title skips around its constituent parts. The works on wood, all titled “Vgoneb samkaro melandeba” or “The world is my hallucination” start out in the artist’s pocket via her iPhone as blurred screens, composites of existing posts on Instagram, you know, the thing that happens in areas or buildings that block phone reception, or when you run out of data while the app is on and you’re on the go.

Tsulaia uses these blurred fragments of other people’s fragmented time as canvases, digitally drawing over them and creating supporting and supplanting architectures. It's a practice of engaging others purported frames of serotonin induced living, of carving out space to imagine further if only aesthetically, and then, if only for a moment. She goes on to printing out and exorcising these new schematic realities, these reclaimed expanses of non time out from over and under the blur, by carefully extracting her drawings with a scalpel and creating new compositions over plastics and repurposed wood. The resulting compositions are reminiscent of cell structures, amoeba and other ephemera visible only when pressed in between panes of glass under a microscope.

The larger untitled works are no strangers teasing out the organic from synthetic refuse. In the artist's words, "humans fill their own world with rubbish and then live in it." In my own words from, well, an earlier piece of writing on her practice, “her work featuring reclaimed trash bags, mesh tarps, plastics and crates, that previously cluttered her surroundings, mirror the damage surely going on in between my synapses.”

One can sense several projects underway resulting from Ioanna’s incipient investigations into her environment, both lived in and offline. I think it’s best we stand back and observe, keenly, for what she does next may involve us, after all, what’s more exciting than engaging with artworks that have the capacity to implicate.