Boris Kocheishvili belongs to the circle of nonconformist artists who developed their own style and artistic language in the late 1960s and early 1970s.  

Despite his considerable age, Kocheishvili continues to work extensively, engaging with such “traditional” forms of art as graphics, painting, and sculptural relief. Yet the world he creates—his imagery and spatial solutions—remains unique and unlike anything else. His works serve as a kind of formula, capturing the essence of the human figure and its surrounding space, the rhythms, the pulsation of color and form within a schematically rendered landscape.  

Polina Lobachevskaya’s gallery presented Kocheishvili’s recent works in the "On the Shore" project from an unusual perspective. As curator of the exhibition, Lobachevskaya once again demonstrated the crucial role of a creative curator (or indeed, a director or producer) in any exhibition project, even when dealing with "traditional" easel art.  

Polina Ivanovna Lobachevskaya grasped a central theme — the motif of the shore, which runs like a red thread through Kocheishvili’s entire body of work. She strung her exhibition choices onto this thread like beads, carefully shaping the presentation of his works. The sound, movement, and light introduced into the exhibition space by other artists did not diminish the significance or beauty of Kocheishvili’s graphic, painterly, and relief works. On the contrary: Alexander Dolgin’s video art, featuring moving water, drifting clouds, and raindrops; the fluid saxophone melodies of Alexey Kozlov; and a slide film about the artist, capturing his creative process and daily life on the banks of the Oka River in Tarusa — all of these elements continually reminded viewers of the project’s central theme: "this shore and that shore."  

And where do we find ourselves? If we stand on this shore, what do we see beyond the river, on the other side?