Every artist has their own way of engaging in dialogue with the world and existence. Some masterfully work with colour, while others manage to infuse their creations with shimmering light. Some seek and discover new forms, while others explore relevant concepts.  

Kocheishvili is a master of space and composition. How he manages to convey such incredible depth within the small confines of a sheet of paper remains a mystery even to the artist himself. It is no coincidence that one of his favorite words is the old Russian term "okoyom (horizon)", a notion of the boundless expanses of the Russian landscape, impossible to traverse yet graspable with the eye.  

Boris Kocheishvili was born in the Moscow suburb of Elektrostal and graduated from the Moscow Art School. He worked extensively and was well known within Moscow’s artistic circles as early as the 1970s. By that time, he had already developed his distinctive style, rich in artistic grotesque and poetic expression. His works are populated with female figures and architectural motifs—towers, huts, churches—alongside various objects and flowers, all of which Kocheishvili reinterprets plastically, stylizing them into "formulas" of real-world objects. These images, like precious discoveries, like precise plastic formulas of his artistic "self," run through all of his work, making his pieces instantly recognizable. Graphics, painting, sculptural relief, and poetry flow into one another, transcending conventional genre boundaries.  

"A question inevitably arises: into which 'niche' does Boris Kocheishvili fit? How should one write about him? Who is he? A modernist? A Sixtier? A nonconformist? Unfortunately, our understanding of contemporary art movements is extremely limited. We lack the terminology and concepts. Our existing classification is elementary and overly arbitrary," wrote art historian Valery Turchin at the time.  Kocheishvili exists beyond movements, beyond frameworks and styles. The artistic language of this painter-poet is as vast and diverse as the boundless space unfolding in his works.  

The exhibition featured around forty of the artist’s works — sculptural reliefs from the 2000s as well as large graphic sheets from the 1970s to the 1990s. Most of these pieces were displayed for the first time.