Boris Kocheishvili was born in Elektrostal, a town near Moscow. He inherited his surname from his grandfather, a Georgian anarchist who was exiled to Siberia in the early 20th century and later settled in Russia. There were no artists in Boris’s family, yet he never considered any path other than becoming one. He developed his own distinctive style at an early age. In 1962, he graduated from the Moscow Art School *In Memory of 1905* and soon began exhibiting—first in Russia and later internationally. His works are housed in the State Tretyakov Gallery, the State Russian Museum, the Pushkin State Museum of Fine Arts, various art museums across Russia, the Peter Ludwig Museum (Germany), as well as in private collections both in Russia and abroad.  

By all accounts, Boris Kocheishvili should be considered part of the nonconformist art movement—his degree of artistic radicalism, age, and social circle align with it. However, he never became "one of many" because he always preferred an independent and self-sufficient existence, both in art and in life. Like the cat from Kipling’s famous tale, he has always "walked by himself."  

At one point, art historian Yuri Molok wrote about Kocheishvili, highlighting the "theatrical nature" of his talent:  
"The themes of friendly conversations and soul connections, which particularly fascinated Kocheishvili during his years of detachment from society (now referred to as the underground years), took on a theatrical form in his work. He came to see life as a stage, where he, Boris Kocheishvili, the Artist, performed his theatrical mysteries. Except he played them out on paper. He effortlessly drew the viewer’s eye into this captivating world of staged space, where imagined arches and illusory curtains appeared, where silhouettes or shadows of figures were connected by the laws of performance, speaking a language of overt theatrical gestures."  

Kocheishvili’s exhibition was held in the Atrium of the School of Dramatic Art theater on Sretenka. The display featured works from different periods, including drawings, paintings, and reliefs. This was the first time the artist’s works were placed within an actual theater setting. The aesthetic and plastic principles of the School of Dramatic Art resonate seamlessly with Boris Kocheishvili’s personal approach to scenography, creating the impression that the artist and the director are speaking to the audience in the same language.