Art as therapy or symphony of life

I can say without hesitation that my biographical journey has been marked by blessed encounters with exceptional spirits of the contemporary world that I have talked about several times. I could never forget the major impact that the Belgian philosopher Jean-Claude Polet had on me, who struck me with his own culture of humility, or the French writer Alain Durel, rooted in the temptations of the monastic ethos of Mount Athos, who made me understand the inconvenience of being lukewarm before God.
I am referring to the dialogical fascination in the world of ideas that the Exiled Being embraced in the absence of great interrogations, and the role of each ideational encounter is to caress such a Being who still does not know how to live in itself.
Starting from this inner reality in which I bathe with all the sacred joy I am capable of, I would like to refer to a very special personality that I have met in the wonderful world of ideas and ideals. I am referring to Nanuka Tchkuaseli, with the literary pseudonym Gvinina, a representative poet and painter of the young generation.
Originally from Georgia, more precisely from the Guria region, Gvinina impresses with an indescribable artistic softness, with a kind of tonality as an exhortation to return to the abandoned self.
I say this because the imaginary that Gvinina uses in her portraiture architecture makes me think of the metaphysical mystery that underlies human nature, that truth next to us that we do not see because most of the time we choose to become prisoners in the dungeon of our own ignorance.
On the other hand, Gvinina's liberating art introduces the viewer to a world of freedom of expression as aesthetic therapy. In fact, through each of her paintings, Gvinina manages to highlight the need for the imperative of universal love and especially the ineffable feminine that transforms the Earth into a living space. In other words, I would say that my exercise in admiration for Gvinina's ideational passport is mainly due to the attention she pays to the ontological uniqueness of the feminine, characterized by perceptual finesse and sublime eternity, which can only be accomplished in the spirit of absolute freedom that no one and nothing should attempt.
This intellectual and spiritual encounter with Gvinina determined me to reflect even more responsibly on the treasures and undeniable pearls of Georgia, a sacred and biblical realm, whose destiny marked by suffering introduced it definitively into the sapiential geography. And Gvinina, through her entire artistic and poetic charge, represents her country in the most crystalline way possible, opting for a language of the depths of the heart, and not for an ideological discursiveness.
In a word, I would say that thanks to Gvinina we can understand that art is a therapy or symphony of life, that is, what the Georgian poet Sota Rustaveli called "the truth beyond what we see".
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