Born in Georgia and now based in East London, artist Tatia Mamulashvili is a painter whose practice inhabits the intersection of figurative expressionism, abstraction, and installation.

Mamulashvili’s work explores the fragile boundary between internal and external worlds. Her figures, often dissolving or metamorphosing into space, embody a shifting sense of identity — one that moves between self and others. Disrupting the idea of a body as a whole, unified object — a Gestalt — she manifests the fragmented, unstable way the subject experiences themselves. Her blurry, ambiguous figures suggest inner states that are constantly changing, unknown even to herself. Through painting, she probes for hidden and forgotten feelings: love, grief, loss, and fear — using art as a field for what remains undefined.

   The artist’s methodology is rooted in spontaneity and a slow emotional intuition. She begins with a vague, shifting image, allowing it to evolve during the creative process. Mamulashvili often works with bricolage, combining fragile and used materials — papers, fabrics, and found objects — each carrying its own ineffable history and energy. Wrapping papers, polystyrene curtains, Georgian curtains from her hometown, and trash bin bags — these materials, transported from their original purposes, are transformed through cutting, tearing, sewing, and glueing. In these acts of damage and repair, Mamulashvili expresses both destruction and healing, exploring impermanence, vulnerability, and renewal.

   Moving towards installation marks a new emergence in her practice. With a background in architecture and traditional academic art training — where precision, perspective, and the comfort of certainty were keystones — Mamulashvili now chooses to create spaces that reject safety and challenge stability. Instead of designing harmonious environments, she constructs fragmented, unsettling spaces that invite emotional and psychological engagement. She aims not to offer comfort but to provoke direct embodied responses, allowing viewers to feel, question, and inhabit the emotional landscapes she creates.