Title: Helios
year created: 2026
Size: 90 / 60 cm
medium: acrylic paint on canvas
Price: 5000 euro
This painting captures a suspended moment between illumination and observation.
Helios, the Greek god of light, radiates across the composition while Hermes watches from the edge of a rocky cliff. Rather than depicting action, the work explores anticipation, the silent moment before movement begins.
Hermes, the divine messenger, stands between worlds, observing the source of light before carrying knowledge forward. The relationship between the two figures transforms the relief into a reflection on curiosity, wisdom, and the pursuit of understanding.
Finished in deep blue and bronze, the sculpture changes character throughout the day. As light moves across its textured surface, the bronze catches warm highlights against the rich darkness, creating the impression that Helios is continuously emerging from within the composition itself.
Title: The Birth of Aphrodite
year created: 2026
Size: 90 / 60 cm
medium: acrylic paint on canvas
Price: 5000 euro
Inspired by one of Greek mythology's most powerful origin stories, this painting depicts the birth of Aphrodite, the goddess of love, beauty, desire, and creative power.
According to the ancient myth, Aphrodite emerged from the white sea foam after the sky god Uranus fell into the ocean. From an act of destruction came the embodiment of beauty itself.
Above her appears a black swan, one of Aphrodite's sacred symbols. Its presence introduces a quiet contrast: elegance alongside mystery, grace alongside transformation.
Rather than illustrating mythology literally, the relief explores the paradox at the heart of creation, that beauty often arises from chaos, and that every ending holds the possibility of a new beginning.
Deep blue tones combined with luminous bronze create a constantly changing surface that responds to surrounding light, allowing the painting to shift in mood from morning to evening
Amirani — The Price of Giving Light
year created: 2026
size: 70 /50 cm
medium: acrylic paint on canvas
Price: 4500 euro
Inspired by the Georgian cultural hero Amirani, this painting explores one of humanity's oldest and most enduring questions: What is the cost of bringing light to others?
Long before modern times, Georgian mythology told the story of Amirani, a figure whose fate closely echoes that of Prometheus. By stealing fire from the divine realm and giving it to humanity, he chose compassion over obedience, knowing that such a gift would demand an unimaginable sacrifice.
The painting captures the moment of his eternal punishment. Powerful birds surround his restrained figure, embodying the relentless consequences of defying the gods in pursuit of human progress. Yet despite the violence of the scene, the composition is not about suffering alone.
Resting above Amirani is a white swan, that represents the selfless intention behind his actions. It reminds us that acts born from kindness and courage often come at a personal cost. In the lower corner appears Amirani's faithful dog, an important element of Georgian mythology that quietly reinforces the themes of loyalty, endurance, and companionship even in the darkest moments.
Although rooted in ancient legend, the work speaks to a universal human experience. Throughout history, those who challenge convention, share knowledge, or create opportunities for others have often paid a price for their convictions. The painting becomes a meditation on sacrifice, resilience, and the enduring belief that some gifts are worth suffering for.
Rather than simply illustrating a myth, the painting invites viewers to reflect on those who illuminate the path for others, and on the courage required to continue doing so, even when the reward is not freedom, but endurance.
Title: Playing with Ariadne's Thread, The Innocence Behind the Monster
year created: 2026
Size: 90 / 60 cm
medium: acrylic paint on canvas
Price: 5000 euro
For centuries, the Minotaur has been remembered as a monster, a creature to be feared, defeated, and destroyed. But this artwork asks a different question: What if the monster was never a monster at all?
Inspired by the ancient Greek myth of the Minotaur and Ariadne's thread, this piece explores the tragedy hidden beneath the legend: the story of a child who was condemned not for his actions, but simply because he looked different.
Born with an appearance that frightened others, the Minotaur was isolated and hidden away in the labyrinth. His entire existence became a punishment imposed by those who saw difference as something dangerous.
In this interpretation, the Minotaur is no longer a symbol of violence. He becomes a symbol of innocence, loneliness, and the pain of being rejected before ever being truly known.
The artwork captures a quiet and heartbreaking moment, the possibility that he discovered Ariadne's thread himself and, unaware of its true purpose, played with it like a child discovering something beautiful for the first time.
The same thread that represented hope and escape became the path leading others directly to him. While he played innocently, his fate was already approaching.
Through this work, the familiar myth transforms into a reflection on compassion and human judgment. It asks viewers to consider how often history has labeled someone a "monster" simply because they appeared different, without ever taking the time to understand their heart.
Rather than depicting the death of a mythical creature, this artwork preserves the memory of a child who deserved kindness.
Title: Gaia: The Origin of Life
Date: 2023
Material now is colored plaster, but finished piece will be Bronze.
size: 32/2/30 cm
price: 3000 Euro
This relief explores Gaia not only as the Earth itself, but as the universal source from which all existence emerges.
The figure possesses exaggerated feminine proportions—broad hips, full breasts, and a powerful physical presence, not as an ideal of beauty, but as symbols of fertility, abundance, and life's extraordinary capacity to begin again.
At first glance, the background appears to depict a celestial sky filled with stars and a luminous moon. Only with time does another image begin to emerge. The composition subtly reveals the meeting of the ovum and sperm, the microscopic beginning of every human life.
By merging the vastness of the cosmos with the smallest biological origin, the relief suggests that creation exists simultaneously on every scale, from galaxies to a single living cell.
Gaia becomes more than a mythological figure. She embodies life's first possibility, the quiet moment before existence itself unfolds.
The sculpture is currently in its final modeling stage. Upon acquisition, it will be professionally cast and finished in bronze, a process requiring approximately four weeks. This allows the final patina and surface finish to be completed specifically for its future owner.
Title: Gaia: The Eternal Cycle
Date: 2025
Material now is colored plaster, but finished piece will be Bronze.
size: 50/3/70 cm
price: 7000 Euro
This sculptural relief appears to portray Gaia, the primordial Greek goddess of Earth. But it is ultimately about something far more universal,the invisible force that allows life to continuously renew itself.
Gaia kneels before a newly emerging plant, not as its creator, but as its guardian. The gesture is quiet and humble, suggesting that even the source of life remains in reverence toward creation itself.
The sculpture is built around a continuous flow of energy. Gaia's hair transforms seamlessly into flames and roots, two opposing yet inseparable forces. Fire symbolizes transformation, while roots represent permanence and stability. Together they form an uninterrupted cycle where every ending becomes the beginning of something new.
At the base of the relief, the roots of the growing plant visually reconnect with Gaia herself, completing a circular movement through the composition. Nothing exists independently. Everything nourishes everything else.
Beyond its mythological narrative, the work becomes a meditation on balance, between creating and nurturing, strength and gentleness, giving and receiving.
It invites the viewer to slow down and reflect on humanity's relationship with nature, reminding us that we are not separate from these living systems but inseparable participants within them.
The sculpture is currently in its final modeling stage. Upon acquisition, it will be professionally cast and finished in bronze, a process requiring approximately four weeks. This allows the final patina and surface finish to be completed specifically for its future owner.
Hope (2023)
Oil pastels on paper
89 × 58 cm
€4,000
Hope is rarely experienced as certainty. More often, it appears when certainty has disappeared.
In Hope, Ketevan Anasovi places a solitary figure beneath the surface of the water. The body appears overwhelmed by the present moment, suspended between what has already happened and what has not yet arrived.
Water becomes both physical environment and psychological state.
The figure cannot simply return to the past, nor reach the future. Everything exists within the overwhelming weight of the present.
Yet the body has not completely surrendered.
One leg rises from the water, almost finding the ground. It is a small gesture, but within the composition it becomes monumental: an instinctive movement toward survival.
Behind the figure, radiant circular forms evoke ancient symbols and archaic visual languages, introducing a sense of something older and more enduring than the individual's suffering.
This creates the central tension of the work.
The present may feel unbearable, but it is not eternal.
Hope does not depict optimism. It depicts something more fragile and more human: the instinct to keep moving when there is no guarantee that the future will be better.
Ethnic Chaos
2023
Oil pastels on paper
30 × 21 cm
€1000
Ethnic Chaos explores identity not as something fixed, but as something alive, layered and constantly interacting with the world around us.
Inspired by the musical language and cultural energy of the Ukrainian band DakhaBrakha, Ketevan Anasovi brings together human figures, colour, symbols and expressive movement to create a visual field in which different cultural elements coexist without losing their individual character.
The apparent chaos is deliberate. It reflects the way identity is actually experienced: through inherited traditions, personal beliefs, landscapes, memories, music and communities, all existing simultaneously.
Rather than presenting heritage as something preserved behind glass, Anasovi presents it as something dynamic, a living force capable of collision, transformation and renewal.
The work celebrates the possibility that difference does not necessarily divide us.
Sometimes, it creates the richest form of harmony.
Sisters
2022
Watercolour on paper
30 × 21 cm
€800
How much of ourselves is inherited, and how much becomes our own? Sisters examines the subtle distance between people who share the same origins.
The figures appear connected, yet their gestures and actions begin to diverge. Their relationship is therefore not defined by sameness, but by the coexistence of intimacy and individuality.
Anasovi is interested in the quiet differences that emerge between people who travel through life alongside one another. Two people may share history, family, environment and memory, yet experience the world through entirely different internal landscapes.
The simplicity of the composition gives these character distinctions greater weight.
Sisters becomes a meditation on closeness without conformity: the idea that belonging to one another does not require becoming the same.
It is a small work about a universal human truth: we can share a life without sharing the same way of living it.
Hold It for a Second
2024
Acrylic and watercolour on paper
30 × 21 cm
€800
Trust is one of the most vulnerable things a person can give.
Hold It for a Second captures the instant in which one person places something precious into another's hands without knowing with certainty what will happen next.
The gesture is brief, almost instinctive. Yet within it lies an enormous emotional risk.
To trust another person is to temporarily surrender control. It is to believe that what we offer will not be dropped, damaged or used against us.
Anasovi transforms this universal experience into a study of vulnerability and dependence. The work does not romanticise trust; instead, it acknowledges the quiet fear that exists alongside it.
The title sounds almost casual, a simple request.
But beneath those four words lies something much larger: Please take care of me.
4 Artwork Series: "It’s Only in Your Head"
The "It’s Only in Your Head" series explores the complex landscape of the mind, where emotional burdens, dreams, love, and chaos coexist in a blend of reality and imagination.
"Burden" (2020)
This piece captures the emotional baggage we carry, often feeling like a burden to loved ones and giving society undue influence over our sense of self. The main figure, set against a nearly imperceptible background, is consumed by imagined scenarios, highlighting how we empower some people in our minds while feeling unseen by others. The figure’s vulnerable position symbolizes a need for validation, revealing how much of our self-worth can be “in our heads.
Size: 60 / 50 cm
medium: Oil paint on canvas
Price: 4000 euro
"Waking Up" (2020)
"Waking Up" breaks the boundary between dream and reality, allowing viewers to interpret which character might be real or imagined. This piece invites us into the threshold of consciousness, where it’s unclear if we’re witnessing a dream or an awakening. It reflects the delicate, shifting balance of perception, leaving interpretation in the hands of the viewer.
Size: 50 / 60 cm
medium: Oil paint on canvas
Price: 4000 euro
"This Time Flowers Bloomed for Me Too" (2020)
Inspired by Georgian writer Guram Dochanashvili’s idea that the number of flowers blooming is equal to the number of lovers in the world, this artwork symbolizes love as an expansive, universal connection. The central figure is seen at various life stages, expressing and concealing emotions, blending into the cosmos, and becoming one with the rhythm of existence. Here, flowers become a metaphor for love as a force that transcends individual experience.
Size: 50 / 60 cm
medium: Oil paint on canvas
Price: 4000 euro
"Chaos" (2020)
Centered on a young boy, "Chaos" reveals a child’s process of organizing the world in his mind, assigning meaning and order to his experiences. Through his vision, we see fragments of importance, each item a reflection of his emerging understanding of the world.
Size: 50 / 60 cm
medium: Oil paint on canvas
Price: 4000 euro
As you explore each piece from this series, you’ll notice recurring characters and elements, subtly linking each work to form a cohesive narrative. The boy from "Chaos" appears in the upper right corner of "This Time Flowers Bloomed for Me Too". Young men character can be found in both "Burden" and "Waking Up." And elderly character comes in first and third artworks of the series. These overlapping details suggest that each scenario unfolds within the imagination of a single person, presenting a deeply personal and layered journey of self-discovery.
FEMININE — SCULPTURAL RELIEF
2026
A woman’s body does not need to be fully revealed to speak about femininity. This sculptural relief captures only the female torso, lying gently on one side, a fragment of the body, but a complete emotional presence.
There is something intimate about a torso without a face, without a narrative, without anything to distract from the physical language of the body. It becomes a symbol rather than a portrait: femininity, tenderness, pleasure, intimacy and love.
The curved form suggests the softness of the body at rest, a moment of surrender, closeness and quiet pleasure. It is sensual without needing to be explicit. The work is intentionally being offered in its current unfinished state.
Once it is sold, the relief will be completed and cast in bronze, transforming the original sculptural idea into a lasting object designed to endure for generations. Owning this work therefore means not simply purchasing a finished decorative object, but becoming the collector who allows its final form to exist.
Original sculptural relief
size: 29 × 21 × 1 cm
€2,800
The price includes the completed sculptural work and its realization in bronze.
A rare opportunity to acquire a small but deeply intimate work in the artist’s sculptural practice, a piece about the body, desire and love that can exist quietly within a private space. Available to one collector only.
"Lomisoba" (2019)
Size: 80 / 99 cm
medium: Oil paint on canvas
Price: 5000 euro
The work takes its title from the Georgian religious festival of Lomisoba, a centuries-old tradition in which large numbers of sheep are sacrificed as offerings before a communal celebration. Rather than documenting the ritual, Anasovi transforms it into a confrontation: the animal becomes monumental, disproportionately larger than the human figure responsible for its death.
This distortion is central to the work. By reversing the expected hierarchy between human and animal, Anasovi forces the viewer to reconsider who occupies the position of power,and who ultimately bears the weight of the ritual.
The sheep and the human are rendered within the same stark black-and-white language. They become almost inseparable, bound together by a cycle inherited from previous generations. the familiar visual language of celebration is stripped away, leaving only the ritual, the violence, and the uncomfortable question of what remains when tradition continues after its original meaning has been forgotten.
Lomisoba is not an attack on Georgian identity or communal celebration. It is an examination of what happens when inherited customs become unquestioned.
The painting therefore operates on two levels: as a distinctly Georgian work rooted in a specific cultural reality, and as a universal meditation on ritual, collective behaviour, animal life, and humanity's willingness to repeat what it has inherited.
“Creation” 2025
Size 30.5 cm X 43 cm
medium Acrylic paint on paper
price: 3000 euro
There is a moment in every creative act when thought becomes secondary. The hands move before the mind can intervene. Intention gives way to instinct. Time disappears. The distinction between the person creating and the thing being created begins to dissolve.
Creation captures precisely this state.
Rather than depicting creativity as a polished achievement, Ketevan Anasovi turns her attention toward the invisible psychological space in which creation actually happens: concentration, surrender, uncertainty, instinct, and trust.
The work speaks not only to artists, but to anyone who has experienced complete absorption in making something, the musician lost inside a performance, the writer disappearing into a sentence, the craftsperson following their hands, the entrepreneur consumed by an idea.
The subject is therefore larger than art itself. Creation is a painting about the rare moment when we stop controlling the process and allow ourselves to become part of it.
It celebrates the act of becoming rather than the finished result.
“Seconds Before This Could Become the Most Cliché Artwork”
size 30.5 cm X 43 cm
medium Acrylic paint on paper
year created 2025
price: 1800 euro
Romantic imagery has its own visual vocabulary. Among its most recognizable symbols are two swans facing one another, their curved necks forming the unmistakable shape of a heart. The image has become so familiar that it has almost ceased to surprise us.
Anasovi intervenes one moment earlier.
Artwork freezes the scene before the expected image is completed. The romantic gesture remains possible, but it has not yet happened.
That small interruption becomes the entire subject.
The work plays with the viewer's visual memory and expectations, questioning why certain images become symbols of love and how repetition gradually transforms genuine emotion into cliché.
There is humour in the premise, but the work is not merely a joke. It is an examination of how images acquire meaning, and how easily meaning can become formula.
Anasovi turns a familiar romantic symbol against itself, creating a work that is simultaneously playful, self-aware and conceptually sharp.
The viewer is left suspended in the most interesting moment: the moment before an image tells us what we are supposed to feel.
She Knows
2023
Poster paint on paper
30 × 43 cm
€3000
Eve has been depicted countless times. Anasovi chooses to show her not at the moment of temptation, but in the moment of concealment.
In She Knows, the woman is seen from behind, holding something red close to her body. The viewer occupies an unusual position: we see what she attempts to hide.
This creates a deliberate inversion of perspective.
We are no longer simply observers of Eve's story. We are given a position resembling divine knowledge, we can see what she cannot reveal to the person watching her.
She is hiding something deeply important, yet it remains visible to the viewer. The viewer is placed in the position of God, able to see what she cannot reveal.
The work therefore moves beyond the traditional narrative of sin.
What does knowledge look like before it is spoken? Is Eve ashamed? Empowered? Afraid? Or does she simply understand something that others do not? Anasovi leaves the answer unresolved.
Who Is It? 2023
Poster paint and acrylic on paper
30 × 42 cm
€2800
Who is the figure we are looking at?
A morning star.
A fallen angel.
The devil.
A rebel.
Or simply someone who has refused to be defined by another person's interpretation.
Drawing from Christian and broader religious symbolism, Ketevan Anasovi constructs a figure that exists somewhere between opposing identities: sacred and profane, divine and fallen, innocent and rebellious.
The ambiguity is essential.
Rather than telling the viewer what the figure represents, Anasovi turns interpretation into part of the artwork itself. The viewer's own beliefs, cultural background and understanding of good and evil inevitably influence what they see.
The work therefore becomes less a portrait of a particular character than a question about identity.
Who decides what makes someone fallen? And perhaps more importantly:Can a figure be understood without first being judged?
LIMITED EDITION ART POSTERS
You don’t need to spend thousands to start building a meaningful art collection.
These limited-edition posters are created for people who want to live with original art, collect several works, and slowly build a personal collection around an artist they connect with.
Each print is:
— Signed by the artist
— Individually numbered within the edition
— Accompanied by a small Certificate of Authenticity
— Printed on high-quality paper
— Delivered unframed, so you can choose the frame that fits your home and budget.
Available sizes & prices
A4 — 21 × 29.7 cm €28 per print
A3 — 29.7 × 42 cm €78 per print
A2 — 42 × 59.4 cm €100 per print
Shipping is not included and is calculated according to your location.
Because shipping is paid once per order, many collectors choose several posters at the same time. It is an easy way to begin a collection rather than purchasing one piece at a time.
And because the prints are unframed, you are not locked into a particular presentation. You can choose a simple frame, a luxurious frame, or change it later as your interior evolves.
The important part is that you are not simply buying a reproduction.
You are acquiring a signed, numbered piece from a limited edition, with documentation of its authenticity.
A small first step can be the beginning of a real art collection.
To purchase, send me the artworks you would like and your country/city. I will confirm availability and calculate the exact shipping cost before you pay
@anasovi__k
email: [email protected]