Reviews: "Georgian artist Lia Chechelashvili’s minimalist art is her signature in my opinion. These works will stand the test of time in their modern expression of movement in contemporary intimate human relationships with other people, with activities, with objects. Simplicity speaks volumes in these works, potently emotive and vigorously insightful. The viewer feels the movement, the very air and potency of the moment. As if a voyeur, one watches subtle interplays, imagined in the mind by suggestion in each arc and vector, each fabulously conceived line and curve. Marvelous. I can see these…feel these wonderful works gracing the halls a music school, a dance school, a wonderfully intimate social lounge, the hallowed halls of a respected university…and my own music room. Can’t you feel them, too?" Artist, writer, musician D. L. Keur, “The Art of Lia Chechelashvili”, Art Reviews by D. L. Keur, 23/07/2007 “Lia Chechelashvili's work is an exercise in means and effect. As she says, "minimum means and maximum expression" is her goal. With a background in math, Chechelashvili's analytic nature is well suited for the problems of reductive representation. Her work plays with the formal character of continuous white line on a dark background. The sinuous drawings wrap around the picture transforming line into figuration, denoted dimension, and pure abstraction. Other works exercise the same dramatic rhythmic form but use color. Chechelashvili's world is a magical one. The characters live in a weightless and sometimes boundless space. Characters and forms relate to one another in a way that speaks about human interaction. In this sense, her work is about the relationship between individuals and the space of interaction.” From the catalogue of solo exhibition in “Old Gallery”, Tbilisi, 1999 Lia Chechelashvili uses lines to describe relationships. Her painting The Cube depicts two figures: one female figure made of weightless line that freely moves about as it describes the female form and one male figure that exists more statically in the lower region of The Cube. The play between Chechelashvili's figures and her clever use of line is telling. With just enough information she describes a universal relationship within a closed system - a familiar allegory of male and female archetypes. With well-considered line she defines a still introverted male, facing away from the viewer and the curvilinear levitating female. Chechelashvili's work examines human narrative within reductive form. Her background in quantitative thinking is a visible component in her efficiently designed figures and volumes. Chechelashvili's figures exist between physiological and psychological representation. With linear transformations she skews the viewer's perceptions and entices a rewarding visual journey. ArtisSpectrum Magazine, Volume 12, New York, 2004