Archive of selected Georgian street art works. 2021-2023.
It is considered that graffiti originated in the mid-1960s, first emerging in Philadelphia, later moving to New York, and eventually spreading its influence all around the globe.
During the early 1980s, there was a growing interest in the graphic protests created by teenagers, which were often expressed through graffiti and street art. The term “street art” began to come into use in the early 1990s, when various styles of such practices could already be found in different countries. Today, it is a powerful movement with a wide range of stylistic techniques represented by a multitude of talented artists all over the world.
Nowadays, street art methods of expression are acknowledged as a full-fledged form of modern culture and have become an established part of contemporary art. It has been a little more than half a century since the first name-based graffiti by Darryl McCray, better known by his tagging name “Cornbread,” till today, when some of the other artists' artworks are exhibited in museums and contribute to the recognition of this movement as a complex art form.
Abstract lettering and stencil works, murals and optical illusions, digitized video-projecting, and various figurative techniques are just part of the ways used by contemporary artists to diversify the dull urban environment. Mostly through a mix of murals, graffiti, and stencil art, Georgian cities' streets tell stories of their past, present, and the interplay between tradition and modernity.
Mural painting is a popular style of street art in Georgia, with many artists creating large-scale murals that cover entire facades of different types of buildings. The muralist considers in reference to the feature of the wall surface, the type of the building, and the environment.
When it comes to stencil art, this technique involves creating stencils made out of paper, cardboard, or other media and then using spray paint or roll-on paint. Sometimes, multiple layers of stencils are used in the same image to add color or create the illusion of depth.
Some types of expression, such as graffiti, involve writing or drawing on a surface using spray paint or markers. It is often used to convey what can’t be said politely or feels urgent or personal. Initial graffiti and the first examples of other techniques had a chamber scale, but as the popularity of street art grew, the physical parameters of drawings and inscriptions steadily increased.
Murals of the last decade can occupy hundreds or even thousands of square meters of building surfaces and seriously affect the imagery of the environment on a city-wide scale. Most of them are reflections of the societal changes and challenges faced by the society. In this way, the urban area becomes a space where muralists represent their creativity and vision. Artists are trying to destroy physical boundaries between “public” and “private” by the idea of co-existing in a “shared cultural space”.
Painting on walls is typically illegal in Georgia and is subject to penalties under administrative law. This is why artists usually do their paintings surreptitiously at night, in abandoned places, or during street art festivals where special permission is provided for work on a particular building. During the last ten years, new artworks on the streets have become a significant part of cities’ identity.
The widespread distribution of street art has required many countries to enact appropriate legislation regulating various aspects of this artistic phenomenon in public spaces. For the general public, authors' works have often been linked with vandalism, defacement of private property, and behavior that is considered unacceptable; almost crossing the line of legality. Today, graffiti is mostly done under the threat of being caught by the police.
Although the first pieces of street artwork emerged in the late 1980s during the post-Soviet period, the scene did not grow rapidly until recent years. Street art is quite a novel form of expressive culture in Georgia.
Even though it is a relatively new phenomenon for the country, scarcely 30 years old, it has already become an indelible part of the identity all around the country. Especially in a couple of districts in the capital.
As a result, the scale brings these works to the status of urban planning dominance and might improve navigation in the typical panel architecture of residential buildings. Contemporary Georgian authors also paint their works in small towns all over the country, transforming whole districts. This makes the perception of large-scale street art possible not only in the capital and its suburbs.
Despite preconceptions associated with street art, societal perceptions are gradually changing. Its rising popularity has attracted the interest of the private sector and local governments, which are seeking to recruit muralists for corporate and municipal projects. Right now, more than 100 walls have been painted only across Tbilisi, among the authors are a lot of famous artists.
Street art can be found in cities such as Batumi, Kutaisi, Ozurgeti, Poti, and Rustavi. Their number rapidly grows year after year. This is almost always the direct result of the organizational initiatives of enthusiasts and artists themselves. Many of these artists possess significant international experience and established, recognizable techniques that manifest clearly in their practices.
Despite the multilingual nature of the local street art scene, it can happen that there is little context that could provide the basis for interpretation. In addition, some street artists hide their identity, thus making it more difficult to establish consistency concerning themes and style in their works.
However, the challenges do not diminish the role street art plays in the formation of the urban linguistic landscape of the cities.
Concerning anonymity, it allows some artists to have a possibility of self-expression without fear of being under any pressure.
Street art has a rich yet contentious history, as its very nature has sparked ongoing debates about whether it qualifies as legitimate artistic expression or should be viewed merely as an act of vandalism. Nowadays, the appearance of most murals is the result of the artist's contract with the authorities and house residents as the implementation of such plans requires a lot of time and an abundance of painting materials; it is impossible without the use of additional technical means (like auto-lift, etc.) and other difficulties.
Murals have become powerful tools for transforming neighborhoods and diluting visual corporate control of the urban environment.
In the context of street art, the modern muralism movement initially emerged as a form of rebellion and self-expression. Artists sought to reclaim public spaces and challenge societal norms. In essence, the mural painting movement began as a powerful tool for communication, empowerment, and social change and became a way to democratize art, making it visible to everyone, not just an elite few.
A significant milestone occurred in 2019 when Georgia hosted its first International Mural Festival. As part of this event, artists transformed numerous walls into striking works.
The “Tbilisi Mural Fest” is an annual event that invites artists from across the globe to paint large-scale murals on buildings and walls. In addition to the murals, the festival hosts workshops, lectures, and exhibitions to foster a deeper understanding and appreciation of street art culture. It features a diverse range of styles, techniques, and themes—from lifelike portraits and abstract designs to political messages and humor. The festival welcomes authors, including celebrated muralists, to take part in its events, but at the same time, it actively supports local artists and up-and-coming talent, offering them a unique platform. Over two weeks every September, visitors have the opportunity to witness the creative process up close, engage with artists, and participate in public events like workshops and panel discussions. Following decades of unregulated construction, efforts emerged to repurpose the grey districts of panel houses as open-air galleries.
The festival was founded with the support of Berlin and Tbilisi city halls, so modern art could grow internationally and refine post-Soviet architecture. The organizers emphasize that the primary goal of the festival is to foster community engagement, encourage cultural dialogue, and facilitate creative exchange while also enhancing the urban environment and leaving a legacy for the city. This focus was on both artistic and social impact. This is why this festival has quickly become one of the most eagerly awaited events in the region’s cultural calendar since its inception. It’s nice to see that during a pretty short period, “Tbilisi Mural Fest” expanded its scope beyond Tbilisi to incorporate other key Georgian cities, as well as pushing the boundaries using new techniques such as 3D video mapping. Overall, the reaction from local communities, foreign media, and art enthusiasts proves the festival's reputation as a platform for cultural exchange.
Though it is still a relatively new and evolving phenomenon, street art has already left a profound mark on the visual landscape. It has captured the gazes of both locals and visitors, who can explore the works simply by wandering through the streets.
In addition to famous foreign muralists participating in the festivals or creating artworks on their own, there is a strong Georgian constellation of artists.
Among all other organizations and independent artists, it would be important to highlight a street art initiative called "Niko". It was founded to support young authors.
Named after the renowned Georgian painter Niko Pirosmani, the movement honors his legacy while empowering a new generation of artists to redefine public spaces.
The “Niko” movement provides financial resources, wall permits, support through social media, equipment, and a community of like-minded people.
The “Niko” movement also plays a crucial role in enriching the local art scene by fostering collaborations between Georgian and foreign artists. It's nice to see how old or typical panel buildings are getting a new life with these festivals. Beyond aesthetics, the movement emphasizes the importance of street art as a platform for authors' experiments and social change. Its impact extends further to urban changes, especially when it comes to building and fostering community engagement.
By blending tradition with modern street art, the artists of this movement, through their work, show that Pirosmani’s influence continues to inspire and resonate in today’s urban landscapes. When it comes to seeing all this diversity and feeling the scale of the work done, it is enough to go to several areas of Tbilisi or Batumi and other Georgian cities. It is noteworthy that the list of them only grows rapidly thanks to street art festivals. As a result, areas with murals often become the subject of investment interest.
Just as Niko Pirosmani’s art was deeply shaped by the social conditions of his time, often depicting the simplicity and struggles of rural life, the “Niko” movement carries forward this legacy by empowering artists to reflect contemporary societal themes in their work. The movement’s logo, a dog, is from Pirosmani’s painting "The Feast in a Grape Gazebo". It can be seen here the movement’s commitment to preserving and reinterpreting Georgian cultural heritage.
Tbilisi State University, known as Maglivi, has one of the buildings as a place where you can see a lot of works at the same time. It is reported that works change yearly since the “Niko” movement uses it as a “practice” ground for artists.
The “Niko” movement is one of the guiding forces in spreading murals and graffiti all around the country. However, at the same time, it helps Georgia be represented on the global street art map. So, similar to the artistic transformation seen in Tbilisi, other Georgian cities have also undergone a metamorphosis in recent years. Even in the countryside, year by year, new artworks appear. All these efforts, without any doubt, have a positive outcome for both tourism and urban development in local cities.
For sure, to reach the level of influence on public consciousness, along with visual techniques, there must be conceptuality and depth in works. It is believed that the movement empowers artists to address modern challenges and gives them the ability to increase their skills. As a result, a lot of them do their artwork all around the globe, participating in international festivals, competitions, and biennials, bringing new meaning. Some works tell stories about the country’s history and key figures.
One more pivotal institution that should be mentioned is “Fabrika”. Originally a sewing factory from the Soviet era, it has been reimagined into a cultural and creative hub. Located in the heart of Tbilisi, this space has become a symbol of urban rejuvenation. Beyond breathing new life into a once-forgotten area, “Fabrika” has emerged as an international stage for artistic collaboration and showcasing skills. The institution has become one of the driving forces of the Georgian street art movement.
Developed by Adjara Group Hospitality and Multiverse Architecture (MUA), the project retained the raw, industrial aesthetic of its Soviet past while infusing it with modern, artistic elements that were done with attention to detail.
The exposed pipes, repurposed factory equipment, and vibrant murals create a striking contrast that reflects Georgia’s transition from its Soviet legacy to the present. This building quickly became a prominent landmark in the “Chugureti” district.
The space consists of a hostel, co-working spaces, artist studios, cafes, and retail outlets, attracting a diverse community. Its central courtyard, adorned with different street art, serves as a gathering place for locals and travelers.
Looking back, it can be said confidently that what began as a modest project to revitalize an old industrial site has evolved into one of Tbilisi’s most promising business areas and a popular destination for city guests and foreign visitors.
At the “Fabrika” space, you will find a graffiti shop that supplies artists with materials. You might purchase aerosol paint (spray), markers, and other essentials for street art.
Fabrika’s success is inspiring evidence of how a popular space might contribute to the growth of a street art scene. The emphasis on collaboration has also strengthened Georgia’s ties with the international art community, positioning Tbilisi as a must-visit destination for art lovers.
For this author, it’s a good sample of how well-designed projects can significantly change urban space.
It’s delightful to see how quickly the scene is developing and how more and more meaningful works are appearing on the streets of Georgia.
However, all those things that are located in the open air tend to deteriorate. Some of the works presented in this article no longer exist, some were redrawn, and some were badly damaged due to weather conditions or other factors. Unbelievably, this happened in just a few years, and on a recent visit to Tbilisi, it was able to see that this extremely dynamic environment has its own cost, where new things appear almost as quickly as old things disappear. It is clear that street art, by its ephemeral nature, is transient — exposed to the elements, vulnerable to urban development, and often subject to removal by authorities or property owners. Nevertheless, its impermanence does not diminish its value.
The process of gentrification is usually a double-edged sword. As cities evolve, the disappearance of street art from the city's visual landscape not only represents more than just a loss of visuals but also erases narratives of community identity, political dissent, and various forms of creative expression.
Thanks to everyone who supports and promotes the development of young artists and those who have already established themselves. With their works, they are documenting the history of today’s Georgian street art movement.
Like in the case of jazz music in the recent past, social sanctification through artistic and scholarly discourse was one of the main stages of the legitimating process. Since the street art phenomenon today is also “in the process of becoming legitimate,” it seems necessary to highlight this topic.






































































