Keti Ortoidze researches markers of social hierarchy and imbalanced allocations of power. This sustained inquiry resurfaces across multiple bodies of work, and figures predominantly within so care-fully, a studio presentation of new sculptures developed while Ortoidze was in residence, in the same space where they are now displayed.

Departing from the work of under-recognized designer Eileen Gray, Ortoidze quotes two of Gray’s designs: the armrest from her Non Conformist chair, and a lesser-known bedside table. Five sculptural works are affixed to the wall, almost imperceptible from a distance. They seem to hover above the floor and their reflective surfaces reinforce the impression of weightless forms—like shadows cast against the walls.

Within this framework, Ortoidze introduces unexpected juxtapositions: the tables carry objects in the shape of historic bath clogs cast in transparent resin. Traditionally made of precious materials, the original bathing shoes were characterized by their platform soles in varying height, which directly corresponded to the wearer’s social status. Ortoidze’s transparent counterparts in turn harbor abandoned materials: found fabric, a dart. The surface of one armrest has a small circular incision; inside, it contains a watch that bathes in a shallow pool of Georgian healing water. The provocative combinations that characterize so care-fully remain shrouded in mystery, allowing the viewer to ascribe subjective readings to the seemingly disparate, but highly-charged objects and materials.