The painting process demands her highest concentration and physical energy. Most of her pictures come about in a single sitting; they are painted without interruption and literally from the soul, and are thus mirrors full of strong inner passion. Painting is an emotional act for her, which should retain its spontaneity and authenticity and therefore should not be improved upon and falsified by subsequent corrections. The titles of her pictures certainly stand for this approach: «INTENSIONS» – painting from inner force, tension, thoroughness, urgency to expressive intensity – living artistic life to its full intensity on the canvas. Her lively, rhythmic characteristic brush style in applying the paint makes up her very individual and unmistakeables signature.

She prefers spectral colours, which she transforms into differentiated, sensitive colour tones in harmonious transitions, facetted and with broad brush hachures. She attributes the origin of this hachures painting technique to her earlier drawing training, where studies of the body were modelled and put into practice exclusively with fine nuances of pencilled hachures. Transforming such hachures into colour tones with wide brushes is an interesting artistic concern and adventure for Gudushauri. Thus, her pictures of whole figures are created with strongly abstracted humans/beings, who are forced, running, fleeing or pausing, into tiny spaces, their freedom strangulated. Nowhere a chance of breaking away; all that is possible is overstretching up to the pain threshold. And yet they still have a dynamic and an energy – as if they wanted to burst open their formats, negate their boundaries.

Intensive colours, which also occur again in her expressive portraits, refer the recipients to dramatic and tragic elements, sometimes even aggressiveness – yet the light, atmospheric colour tones and warm pastel colours associate with lightness and release, even weightlessness. Humanity as part of the macrocosmos, liberated from all repressions, from violence and constraints.

Thus, her works signify the visionary and the fantastic, which is however suffused with personal experiences. Beyond this, they testify, in my opinion, to particular aesthetic feeling and philosophical sophistication.It is perhaps for this very reason that her works beg a silent dialogue, for example in the sense of Romano Guardini:

«A work of art intends nothing, rather it means.
It wants nothing, rather it is.
In the latter is it created, so that it may be and reveal.»

Dr. Maren Kratschmer-Kroneck
Art historian, owner of the Saale-Galerie