{"id":9219,"date":"2026-10-14T15:47:08","date_gmt":"2026-10-14T11:47:08","guid":{"rendered":"https:\/\/nargismagazine.ge\/?p=9219"},"modified":"2026-10-14T15:47:08","modified_gmt":"2026-10-14T11:47:08","slug":"the-screen-as-an-art-medium-the-concept-behind-triptych-studio","status":"publish","type":"post","link":"https:\/\/nargismagazine.ge\/en\/the-screen-as-an-art-medium-the-concept-behind-triptych-studio\/","title":{"rendered":"The Screen as an Art Medium: The Concept Behind Triptych Studio"},"content":{"rendered":"
\n

When architecture and photography meet, the line between the material and the immaterial begins to blur. This is where Triptych Studio was born, turning a traditional piece of furniture into a new medium for art. Founded by architect Irina Maskhulia and photographer Ana Patladze, the brand explores the screen as an object that connects art, design and architecture. Its first collection brings together the individual visions of contemporary artists, hand-finished materials and architectural forms. As a result, the screen moves beyond its practical purpose to become a collectible art object.<\/p>\n<\/div>\n

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Following its first exhibition, Triptych Studio is preparing to present its work on international design platforms. In an interview with N13, Irina and Ana discuss the idea behind the brand, their first collection, collaborations with artists and future plans.<\/p>\n

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\nArchitect and Photographer: How did your professional paths cross, and what led you to create Triptych Studio?<\/strong><\/p>\n<\/div>\n

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Ana<\/strong>: Although a home is a physical space and design belongs to the material world, I have always felt that both are connected to something less tangible. A home is a place of safety and comfort, where you spend much of your life, raise children, rest and find peace before facing the world again. Design is about more than arranging a space. It reflects your inner world, taste and the way you see things. Perhaps that is why the feeling I get from a work of art has always been close to the one I experience through design.<\/p>\n<\/div>\n

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The idea for the screen came from a very personal need. I wanted one for my new home and planned to use a sari that my uncle had brought from India 26 years ago. I started looking for an antique screen but soon realised that finding one in Georgia would be difficult. During that search, I began to see the screen not simply as a piece of furniture, but as an entirely new medium for art.<\/p>\n<\/div>\n

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To me, it was like a blank canvas that could hold almost anything. But unlike a canvas, a screen comes with certain limits. Along with the image, you have to consider its form, structure, movement and scale – in other words, architecture. That is what led me to Irina, my dear friend and a wonderful architect.<\/p>\n<\/div>\n

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Irina<\/strong>: What is interesting is that we met at the point where our professional interests came together. Just as the screen sits somewhere between art and architecture, our collaboration began at that same intersection.<\/p>\n

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\nWhy a screen? What made it the ideal medium to connect art, design and architecture?<\/strong><\/p>\n<\/div>\n

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Ana<\/strong>: What interested me most was the screen’s in-between nature. On one hand, it is a very concrete object with a function, shape, size and material. On the other, it can change and divide a space, or even create a new one. Unlike a canvas, which mainly carries an image, a screen brings that image into the space itself. It is no longer just a painting – it is an image, a form and a space working together.<\/p>\n<\/div>\n

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Irina<\/strong>: From an architectural point of view, it is also an interesting object because it changes a space without closing it off like a wall. It has structure and scale, yet it can be moved and transformed. This seemingly simple construction leaves room for endless interpretations, play and experimentation.<\/p>\n

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\nDoes the name Triptych Studio refer directly to the traditional form of a screen, or does it carry a broader meaning?<\/strong><\/p>\n<\/div>\n

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Irina<\/strong>: For us, the word triptych is more closely connected to painting and the three-panel format. A triptych brings together one idea across three panels. Artists have used this form for centuries, and the structure of a work is about more than composition. It also carries meaning and adds another layer to the piece.<\/p>\n<\/div>\n

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This becomes especially interesting in our work because each painting is created with its architectural form in mind from the beginning. You could say that a painting has become a screen, or that a screen has become a painting. The form, image and original idea are not developed separately. They are imagined together, with this specific architectural structure in mind.<\/p>\n

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\nYour first exhibition has already taken place. What did this moment mean for Triptych Studio, and did it meet your expectations?<\/strong><\/p>\n<\/div>\n

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Irina<\/strong>: The first exhibition was important because it was the first time we saw the objects in the setting they were made for. Until then, everything had existed in the studio, on the worktable and at different stages of the process.<\/p>\n<\/div>\n

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One of the most rewarding things was seeing visitors connect with individual pieces. Some were drawn to the shape, others to the colours or the work of a particular artist.<\/p>\n<\/div>\n

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Ana<\/strong>: That meant a lot to us because we did not want the collection to lose its individuality under one shared aesthetic. It is exciting when people can find a piece that speaks to them among such different works.<\/p>\n

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\nHow did the screens interact with light and space in the exhibition? Did the display come to life as you had imagined?<\/strong><\/p>\n<\/div>\n

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Ana<\/strong>: The exhibition took place at Art Space in the Sarajishvili factory, an extraordinary venue with huge glass windows. It was fascinating to watch the screens change throughout the day as the light shifted.<\/p>\n<\/div>\n

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The silver and aluminium details seemed to come alive in the sunlight. Their response to light changed at different times of day, creating new patterns of light and shadow. In the evening, under artificial lighting, the focus shifted more towards colour. The contrast between the red, black and blue works was particularly striking, both against each other and within the wider space. In a way, the exhibition changed several times throughout the day. That is exactly what interests us: an object that never looks quite the same.<\/p>\n

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\nYour first collection features collaborations with Guga Kotetishvili and Pipo Chausba. How did the creative process work? Did you develop the screen first and then create the painting, or did both take shape at the same time?<\/strong><\/p>\n<\/div>\n

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Ana<\/strong>: Pipo was our first collaborator, and the two processes developed in parallel. Even now, it is difficult to say which came first. The screen and the painting fit together so naturally that it feels as if they were created at the same time, for each other.<\/p>\n<\/div>\n

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With Guga Kotetishvili, we already had a specific screen design. We tried fitting a number of different sketches to its shape, so the process was more structured. First came the form, then the sketch, followed by the choice of colours. At that stage, we considered Guga’s style and visual language, especially the lightness that defines his work.<\/p>\n

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\nHow challenging was it to adapt the individual styles of contemporary artists to a specific architectural object?<\/strong><\/p>\n<\/div>\n

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Irina<\/strong>: It was more interesting than difficult. We wanted to preserve each artist’s individual style while allowing the screen to keep its own character.<\/p>\n<\/div>\n

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There is something especially interesting about seeing an artist’s visual language move into a different material and scale. For both us and the artists, translating their work into another medium was an exciting way to discover it from a new perspective.<\/p>\n

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\nYour work features Venetian pigments, silver details and hand-finished surfaces. Why did you focus on these materials and textures?<\/strong><\/p>\n<\/div>\n

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Irina<\/strong>: With a screen, there are essentially two directions you can take: focus on the form or on the image. For this collection, the image was our priority, so the materials had to support that idea.<\/p>\n<\/div>\n

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Venetian pigments gave us the depth and intensity of colour that would have been difficult to achieve with other materials. We did not want colour to simply sit on the surface. We wanted it to become an essential part of the work. We see the screen as a collectible art object rather than just a piece of furniture, so every detail – the colour, wood, silver inlay and surface finish – had to serve the overall concept. The combination of wood and silver was part of the original idea. The natural warmth of wood contrasts with the clean, modern character of silver, while also complementing it.<\/p>\n<\/div>\n

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From the beginning, we knew that every object had to be finished entirely by hand. The quality of the final result matters, but so does the fact that each piece is an individual work made by hand. The time and care invested in every detail are what define its final appearance.<\/p>\n

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\nWho is the target audience for Triptych Studio – collectors, interior designers or people who simply appreciate aesthetics?<\/strong><\/p>\n<\/div>\n

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Irina<\/strong>: We do not want Triptych Studio to exist for just one specific audience. These are collectible objects, so they naturally appeal to collectors. Their spatial qualities also make them relevant to interior architecture and design.<\/p>\n<\/div>\n

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But what matters most to us is the person who forms a personal connection with an object – through its colour, shape, image, material or simply the feeling it creates. Ultimately, we are interested in that point where a work of art becomes part of your everyday space without losing its identity as art.<\/p>\n

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\nFollowing the success of your first exhibition, what comes next for Triptych Studio? Are you planning a new collection, further collaborations or a move towards international design platforms?<\/strong><\/p>\n<\/div>\n

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Ana<\/strong>: Our first collection was inspired by one of the strongest visual associations with a screen: the naked human body. The silhouette of a body hidden behind a screen appears for a moment, quickly disappears and leaves only a trace. We captured this fleeting silhouette through rays of silver, turning something temporary into a lasting form.<\/p>\n<\/div>\n

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Our next collection will also centre on a single idea. It could be an artistic or design movement, a particular artist or something entirely abstract. What interests us most is the search for inspiration – seeing the world through one idea and translating its forms, materials and associations into the language of the screen.<\/p>\n<\/div>\n

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We already have concrete plans for our international expansion and are working with several important design platforms for spring 2027. The idea that a screen can be much more than a design object is already familiar on the international design scene. We have a clear sense of where Triptych Studio should be positioned, and we are confident that our project can find its place there. At the same time, we have already started working on a new collaboration with a very exciting artist. This partnership will play an important role in our next collection.<\/p>\n

\"\"
\nInterview: Mariam Bekauri<\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

When architecture and photography meet, the line between the material and the immaterial begins to blur. This is where Triptych Studio was born, turning a traditional piece of furniture into a new medium for art. 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