My name is Salome Gviniashvili, and I am a Georgian art historian and cultural researcher with a strong focus on medieval Georgian wall paintings and their wider cultural significance. I am driven by the desire to understand what people have wanted to express through art and culture throughout history—and to translate those messages in ways that resonate with diverse audiences today.

My academic journey began at the Tbilisi State Academy of Arts, where I studied Art History and Theory. I later deepened my expertise at Central European University, focusing on Late Antique, Medieval, and Early Modern Art. This combination of local grounding and international academic training has shaped the way I approach historical material: with both deep contextual sensitivity and an eye for global connections.

Alongside my academic background, I trained in Curatorial Studies at the Zurich University of the Arts (ZHDK), where I developed a practice-oriented understanding of how to present art in meaningful and accessible ways. My curatorial philosophy centres around dialogue—between cultures, between past and present, and between artists and audiences. I believe exhibitions should not only showcase beauty or history, but also invite reflection, connection, and curiosity. My goal is to create experiences that allow visitors to see art as something alive and relevant, no matter its age or origin.

I have curated exhibitions across Europe, with a special focus on presenting Georgian art in international contexts. I see curating as a form of translation—not just linguistic, but cultural. I work to bridge different visual languages and symbolic systems so that what might seem distant or unfamiliar becomes relatable and meaningful. This approach is particularly important to me when working with Georgian medieval art, which carries layers of political, religious, and personal meaning. I aim to make these layers visible and approachable for audiences from all backgrounds.

One of my particular curatorial passions is calligraphy. I see it as a meeting point between visual art and cultural identity. Alphabets are not just tools for communication; they are visual records of collective memory, value systems, and historical shifts. In my exhibitions, I explore how the shapes and strokes of letters can tell stories about the people who wrote and used them—how scripts embody the ethos of a time, a place, or a belief. I’m also deeply interested in how contemporary artists engage with these traditions, and how calligraphy continues to evolve as a living art form.

Beyond exhibitions, my research examines how art reflects and shapes cultural identity and memory. I am particularly drawn to the symbolic world of Georgian medieval wall paintings—how they visualize political ideologies, spiritual values, and social roles. I’m interested in how rulers and communities used visual language to position themselves within both local and broader Christian traditions, especially in the post-Byzantine context.

Collaboration is a core part of my work. I have been fortunate to partner with artists, researchers, and institutions across various countries to share knowledge and build bridges between disciplines and cultures. I also regularly contribute to academic conferences and publications, where I aim to bring Georgian art history into dialogue with contemporary perspectives and global discourses.

Currently based in Warsaw, I continue to develop projects that promote Georgian cultural heritage. I’m also exploring digital tools to preserve and present artworks and historical sites, especially those that are endangered or difficult to access. These technologies open new possibilities for cultural exchange and education, allowing more people to connect with Georgia’s rich artistic traditions.

Ultimately, I see art as a language that speaks across time and place. My mission is to listen closely to what people have wanted to say through their art—and to help others hear it too.