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by Gina Tron 

Uta Bekaia sports bright colors and is extremely charming and friendly. It’s
hard to believe his collection is comprised of abstraction that could totally walk
out of the antichrist’s nightmare. His business card features the illustration o

f a creature that is half man, half deer, a human form with multiple antlers. He
incorporates this animalisitc death into his work for a purpose, to “show that we are one, that everything including animals, trees, us, we are one organism. That’s my concept and why I fuse the antlers.”
Bekaia’s pieces are very cerebral and otherworldly. But his inspiration comes from the real world. “It’s the forms of things I see around. I get inspiration
from people’s characters when I talk to them, from their faces, their expression
in their eyes, and even from trees. My
vision is dark but I’m not a dark dude.
I’m like a mediator.” This mediator has been a designer since he was a teenager, when he was knee deep in candy-raver land in the country of Georgia. Not the state, the country. At 17, he orchestrated his very first fashion show that was
all about androgyny, angels, and colorful ravers.
In contrast to his candy-raver days his new line shall be “not very colorful.” Rather, it will be “dark glamour and bling bling.” Best of all, everything he will be using for the collection is recycled. When it comes to Bekaia’s design process, he often starts with a skeleton, but it usually ends up transforming into something else. “Structurally, I just go with the flow.
I don’t push it. I let my hands do the
work without thinking about it. I don’t conceptualize too much.” Easygoing manner utilized to created complicate looking pieces of art. A mediator of dark that is full of light.Image
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Uta Bekaia has separated the theme of heritage from his personal experiences and discussed it in a universal context; therefore, dividing it into three layers of physical, intellectual and spiritual memories he has created an installation. The physical heritage is the focal point of the installation; the white figure in white dress momentarily catches the eye in a half lit grey hall. The white clay figures on the floor transform into round shapes on the dress, which at the end becomes a human body; this seems like a physical demonstration of the human body formation. The whiteness helps the generalisation. It is intriguing to see the universal physical memory being personified in the female body. According to Uta the simple reality of having a female mannequin has stipulated this. However, for him the centre and the beginning of life is a woman, as the traditional symbol of lifecycle.
The intellectual heritage is a cupboard with multiple drawers, the strange shapes climb out of. These are the neurons of the artist, the ones that store the information and transport it through the whole organism. Every one of them is unique, never repeating each other. The plants standing over the box resemble the biological side of the artwork; the bindweeds get jumbled up so that it is difficult to separate a single branch, it resembles the mechanism of the human brain and the condensed information. The same clay forms are hanging on the sidewall. This is the material that the mind could not grasp and clasify into a box. ‘This is the information dried out in the air.’
Uta Bekaia: ‘I analyse myself as a medium carrying distinct amount of energy, to be released in the universe. Therefore, my art does not revolve around me personally; it is more visual and esoteric. I always avoid conceptualising my experiences in my art. My art is more ornamental. Heritage in its physiological sense is more fascinating for me. Circulation has always been very exciting for me and the information we carry- everything revolves around each other, then disappears and is reborn.’
Thespiritual heritage that according to the artist was very hard to materialise took a shape of anatomical heart and lava. ‘This is very abstract, no one can describe it, but for me it has a shape of a heart, it reminds of lava and the explosion’. The erupting volcanic lava is abstract before it spills and repeats the shape of the environment. The concept of a soul looks a lot like it; its abstract essence takes the shape of the body it is encased in. ‘The visual and aesthetic side is the most important for me and the natural shapes are my constant source of inspiration. Circulation is most captivating for me- when the organisms are born in nature, develop, deteriorate and takes new forms’- says Uta Bekaia.