Rejecting painting as a form of visual expresion led Koka Ramishvili, first of all, to tranfer this pictoriality onto objects which allowed him to explore the way in mhich familiar value codes are accepted by most of people. In his search for escape from the desperate ambient conformity, he chose to distort the way we interpret the sings of our modernity by bringing together, for example, the efficency of the language of communication and a tradition which emphasises itsarbitary and artificial nature. Using embroidery to recreate words which represent a social order, or rather disorder, is an appeal to the plurality of points of view. Exposed in this manner, language spilt into meaning and ornament. The embroidered words produce a sort of hybrid, reflecting a blend of the traditional artistic and cultural codes. In fact, the Collection of Bad and Wrong words are immediately framed by two forms of contextualisation. The firs brings different systems closer together: traditional embroidery and words treated asa plastic myterial. The second, by using words in the neutral space of an exhibition hall, reveals somethingabout reality of a work viaconceptual activity in this work, which dates from 1994, the artist placesour relationship with language on a dinamic plane and underlines, behind the apparent innocence of the embroideries, that this relationship can equally seek to inspire transgressive acts as indicate a rarefaction of meaning, to benefit of things and objects. The words chosen - " Criminal ", " Morphie ", " Corruption ", " Ego ",
" Sex ", - are testimony to the curent state of our societies, haunted by the languages of television and advertising. Teir presence on white satine, their being writen by means of age-old technique of embroidery acts as a headlong rush throught time, a reflection of what Georgian Society is currently going through.
Anne Tronch, The other side of the history, qataloque, 2000, Paris