Georgian-born, New York–based artist Nina Kintsurashvili’s practice is shaped by memory, fragmentation, and mediated experience within a center–periphery context. Interested in what it means to encounter culture indirectly through books, reproductions, and mediated images rather than direct access Kintsurashvili draws from personal archives spanning archaeology, art history and vernacular imagery, assembled through an ongoing engagement with Tbilisi’s Bukinist networks of second-hand book dealers.

As the daughter of a fresco conservator and icon painter, Kintsurashvili’s work examines the formal potential of absence created through fragmented histories and indirect encounters with images, considering incompleteness not as loss, but as a generative force within painting.

Within this context, abstraction operates as a gateway to hidden structures. Forms drawn from references gradually dissolve as their descriptive clarity breaks down and new formal relationships emerge. Her paintings are characterized by uncertain forms that resist fixed categorization while retaining traces of their origin, gestural brushwork, and layered surfaces. Built through cycles of accumulation and erasure, where multiple temporalities and references coexist, the surface becomes a central site of meaning. Through slow looking, revision and perceptual translation, her paintings explore the tension between what is visible and what remains unresolved.