"Valo Imerlishvili completely assimilates and feels the materials (natural stone, wood, iron). In his working toolbar, the process of decentralization of style is regulated in the material, when only the natural properties, moderation, and consistency of the material are emphasized. And the colorful narration of the material (wood color, iron color) acquires meaning as a mechanism for clarifying emotional, sensory or mental accents.

Valo Imerlishvili's project "Big Wave" ("Swing"), was created to be exhibited in the exhibition space of the Tbilisi History Museum within the frame of the Georgian National Museum's project "Contemporary Art Gallery". The three-meter installation presented with two wooden horses is dedicated to an artistic study of the essential features of the West and the East. These two beginnings of Georgian consciousness are also explained by the distinctive geographical location of Georgia. It has always been a tragedy for the country to have been at a geographical crossroads for many centuries - when we separated from the East and did not become a part of the West. These two archetypal "creatures" are visually almost identical. They complement each other and condition each other’s existence. Each of them overcome the "threat of one-sidedness" with the help of the other. Its aesthetics are reminiscent of "the Egyptian Sphinx and the Parisian Chimera".

The iron swing between the horses unites them. Two objects are given in one object - dynamics in statics. The movement of the swing is limited and only goes up to 70 degrees. The author talks about the incomplete cyclicity of the swing movement. The work embodies the idea of contradictions between civilizations, great fluctuations, limited movements, as well as maneuvering and balance. These semantic accents are presented in the foreground and the rigid plasticity of the figures also subordinates to it. Such a hierarchy creates a generalized depiction of horses and brings a different perception of time and space. The process of future contextualization of the work is interesting. On the one hand, how the work bears the hermeticity of the museum space, and on the other hand, the process of marking one's own time-space parameters in the landscape (Due to limitations caused by the pandemic of Covid-19, the presentation of the exhibition was held only online, on May 19, in connection with the International Museum Day).

The generalization of the almost abstract form is Valo Imerlishvili's handwriting. The process of searching for time-space parameters in the art of plastics led to the development of its own plastic chronotype. In particular, Valo Imerlishvili created an installation, which clearly shows how the "swing", which is scattered in the time category and is considered in the spatial category, becomes an artifact of culture; And how the "Swing with limited movement" will turn the process of determining the importance and place of Georgians in the space-time form."

Vladimer (Valo) Imerlishvili, Blog of Alexanda Gabunia, 2020