After dedicating a decade to documentary photography and to an art punctuated with social and political questions, Koka Ramishvili returned to painting in 2002 with the series Story of Kaspar Hauser. In the same vein as the binary models previously explored, he examined the principle of counterpoint at the formal level, emphasizing high-low, right-left and front-back structural oppositions. Initially entitled Genève, then Portraits anonymes, and then L’Architecture de l’Âme, the series proved to be another form of narrative, a “naive, uncamouflaged” story that conveys the artist’s impressions upon arriving in Switzerland, more precisely in Geneva, in the early 2000s. Like Kaspar Hauser , the 19th-century German adolescent whose origins still remain a mystery, Ramishvili became an “orphan of Europe”, and through his watercolours, he evokes a true identity crisis.
