At the exhibition at the Vkhutemas Gallery, about thirty graphic works from the late 1980s and early 1990s were presented, as well as new reliefs by Boris Kocheishvili, created in his signature technique.

One of the central, programmatic ideas of Moscow artist Boris Kocheishvili is the concept of merging Constructivism and Baroque in visual art. To combine, at first glance, the incompatible: the baroque dynamism, its weightless elegance, with the compositional clarity and logic of Constructivism. In the artist's works, this remarkably simple yet new idea manifests itself in the selection of subjects and forms, their plastic behavior on the page, and the handling of space. The architectural fantasies created by the artist from both real and imagined objects are emotional yet concise, theatrical yet natural. These contrasting combinations captivate and mesmerize. The journey from one piece to the next becomes an exciting stroll through baroque rhythms and graceful architectural structures, following the paths of the extraordinary spaces the artist has created.

Boris Kocheishvili was born in the city of Elektrostal in 1940. He graduated from the “Memory of 1905” Art School. Since his student years, the artist has maintained a close connection with the traditions of Vkhutemas. In the early 1960s, he lived for several years with a family closely tied to the history and figures of this legendary institution: "My mother-in-law, Ksenia Konradovna Kupecio, studied at Vkhutein in 1930, and then, along with some professors, transferred to the graphic department of MIIIE, where she studied from 1931 to 1934 under Dejneka, Udaltsova, and Moor. The closest friends of the family were Udaltsova (wife of Drevin) and Vera Nikolaevna Lantsetti." Starting in 1965, the artist spent 10 years studying at the Etching Experimental Studio named after I.I. Nivinsky. All this helped immerse the young artist in the graphic tradition.

Boris Kocheishvili's art is utterly unique. His works are filled with tenderness for nature — gentle and delicate. At the same time, there is a clear sense that the artist is deeply familiar with the history and traditions of world art. Only by having the necessary foundation, composed of technical mastery and personally experienced, processed knowledge from previous generations, can one achieve complete freedom and express their own voice—a voice that won’t be lost but will be heard in the polyphonic chorus of art.