Some of Kvesitadze’s large pieces quietly moved the scores of identical white, anonymous faces apart, stretching connectivity – and then back together, in crushing deformation (“F=F” and “Sphere” ). (https://renaissancerules.wordpress.com/2011/11/09/any-medium-whatever-art-of-the-human-condition/) To some extent, Sphere, whose striking installation occupies a recess of the gallery space, tells a similar story, one of changing identity and of permanent community, one of a continuous and desperate fight against uniformity; it was much celebrated when it was first shown at the 54th Venice Biennale where Kvesitadze represented Georgia in 2011. The critic Henk Slager wrote then that it showed “the dynamic reality of processes of mutation and transformation, of human beings as the ‘builders of spheres’ (Peter Sloterdijk) – a being aware of once having been forced to live on a... (http://www.galeriekornfeld.com/wp-content/uploads/2013/08/Tamara_Kvesitadze-Galerie-Kornfeld-Berlin-2013.pdf)