The Mother Pillar proposes a spatial and conceptual framework in which Georgian culture is presented as a living, evolving system of relationships - between past and present, material and spiritual, individual and collective. Conceived as a series of public sculptures, it draws on the traditions of ancient vernacular architecture and explores the ecological, sociological, and cosmological dimensions of its core elements. It unfolds as an immersive environment in which architecture, language, sound, design, visual art, and fashion converge into a holistic, inherently plural structure. Built primarily as a public space for dialogue, the Mother Pillar hosts talks, fashion performances, screenings, and sound activations. The conceptual core of the project is polyphony, expanding this musical formal tradition into a model of thinking. Multiple voices, media, and disciplines form a system where difference is not resolved but sustained. Through this framework, culture is understood as a process: alive, collectively shaped, and constantly in flux.                                                                                                           

The installation takes the form of a contemporary Darbazi - a reinterpretation of a square chamber with a stepped, pyramidal wooden dome supported by carved Mother Pillars (deda-bodzi). Historically, the Mother Pillars, together with the central hearth, were forming a sacred site around which family life, rituals, and communal gatherings were organized. Conceived as an architectural installation, the work reactivates this spatial logic within a contemporary context and foregrounds collective use, participation, and sharing experience.                                                                      

For the first installment, The Mother Pillar I, Levani brings together references from different periods and regions, approaching tradition as an active and evolving construct. The primary references include the XVII-century darbazi house in Chachkari (Javakheti) and the sculptural clay hearth near Gori, dating back to the III millennium BCE. These forms are reconfigured through present-day sensibilities, reflecting the ongoing transformation of contemporary Georgian society.                                                                                   

The installation is constructed on a circular platform emitting light, while its supporting structure echoes the octagonal geometry of the dome. Two Mother Pillars are positioned opposite one another, expressing a plural understanding of ancestral cosmovision. They function simultaneously as structural supports and eco-spiritual markers, rooted in early beliefs in which trees were regarded as sacred mediators between human and spiritual realms. As extensions of the “tree of life,” the pillars position culture as something that grows, branches, and regenerates over time.                                                                                                     

At the center, a circular hearth made from wild Georgian clay in collaboration with the IDAAF Lab - a collective dedicated to the research and development of local materials - forms the gravitational point of the installation. Historically associated with fire, ritual, and communal life, the hearth is reactivated through talks and public events, softening the division between those who speak and those who listen and establishing a shared space of participation. 

Surrounding the hearth are sculptural furniture pieces by Georgian artists and designers, including IDAAF Architects, ROOMS Studio, and Levani. These works are contemporary interpretations of traditional forms and elements. Fashion and underground culture occupy a central role within this framework. Since the Soviet Union collapse, they have been among the most active forces shaping contemporary Georgian culture, functioning as platforms for community formation, creative experimentation, and social change.                                                                      

Language is materialized through a neon inscription reading evolution, tracing the development of the Georgian alphabet from its earliest forms to the present. Positioned as a semi-circular horizon within the space, the work situates language as a temporal continuum in an ongoing process of transformation.                                                      

This installation marks the beginning of a broader trajectory, moving from Tbilisi Art Fair to Kvareli Foundation for Contemporary Art, where it will continue to host a series of public and site-responsive works. Conceived as a structure that can adapt to different spatial contexts, each iteration will respond to its specific environment while maintaining the core principles of the project - collective use, participation, and the integration of multiple artistic forms. In this movement between locations, the installation extends beyond a single presentation and operates as a framework for sustained engagement, dialogue, and exchange.