Date of Birth:
9.02.1958 Tbilisi, Georgia
     
Affiliation:      Member of Georgian Artists’ Union
                    Member of Georgian Designer Union

Education:
1983-85   Post Graduate studies, Creative Studio, Petersburg, Russia
1977-83   Faculty of Painting and Restoration, Tbilisi State Academy of Fine Arts
1973-77   Tbilisi I. Nikoladze Arts School

Professional experience:
1985- present    Professor, teacher of drawing, Faculty of Architecture, Tbilisi State Academy of Fine Arts   , Georgia                       
1998-present       Senior Designer, “Modern Design” 

Exhibitions:
2009 ''Art Gallery Line'' Contemporary art,  Tbilisi, Georgia
2008 "Art Gallery Line", Contemporary art, Tbilisi, Georgia
2007 "Art Gallery Line" Contemporary art, Tbilisi, Georgia
2007 "Elite Gallery” Contemporary art, Tbilisi, Georgia
2007 Group exhibition,  Tbilisi Business Servisr Center, Tbilisi Georgia
2006  “Elite Gallery” Contemporary art, Tbilisi, Georgia
2006  Group exhibition,  Tbilisi Business Servisr Center, Tbilisi Georgia
2006  “Four Wings”Gallery of modern art, Personal exhibition, Schiedam, The Nederlands
2006  “St- Laurent” Gallery, Personal exhibition, Montreal, Canada
2005   Group exhibition,  Tbilisi Business Servisr Center, Tbilisi Georgia
2005  “Elite Gallery” Contemporary art, Tbilisi, Georgia
2005  “St- Laurent” Gallery, Personal exhibition, Montreal, Canada
2004  Group exhibition,  Tbilisi Business Servisr Center, Tbilisi Georgia
2004  “Elite Gallery” Contemporary art, Tbilisi, Georgia
2004   “St- Laurent” Gallery, Personal exhibition, Montreal, Canada
2003    Group exhibition, Tbilisi Business Service Center, Tbilisi Georgia
2003  “Elite Gallery” Contemporary art project “Winds of the Caucasus”, Baku, Azerbaijan
2003   Tbilisi State Academy of Fine Arts, Tbilisi, Georgia 
2002  “Marmaris” Gallery, Personal exhibition, Istanbul, Turkey
2001   Central Art House, Moscow, Russia
1999   “St- Laurent” Gallery, Personal exhibition, Montreal, Canada
1998  “Harrison Art International” Gallery, Montreal, Canada
1997  “Georgian Week” McGill University, Montreal, Canada
1996   Stuttgart, Germany
1995  ”Sanat Yapim” Gallery,  Personal exhibition, Ankara, Turkey
1994   Munich, Germany
1993   Vienna, Austria; Budapest, Hungary
1991   Berlin, Germany; Prague, Czech Republic
1989   Vienna, Austria; Oslo, Norway
1987   Tirana, Albania
1986   Tbilisi State Academy of Fine Arts, Tbilisi, Georgia 
1985   Stockholm, Sweden
1984   Copenhagen, Denmark; Warsaw, Poland
1982   Moscow, Russia; Petersburg, Russia
1981   Grand Prize for illustrations, Milan, Italy

Works Performed:
A Training Centre of Cosmonauts,7 murals, stained glass, sculptures, Moscow, Russia
Perished in the Second World War Memorial, Ulyanovsk, Russia
Intourist Trading Centre, art design, Vladivostok, Russia
Hotel “Liv”, art design, Lvov, Ukraine
Hotel “Intourist”, art design, Kharkov, Ukraine
City Kharkov Metro, art design, Kharkov, Ukraine
Hotel “Leningrad”, art design, Leningrad, Russia
The Azov Sea  of holiday homes, art design, Azov, Ukraine
Saratov Trading Centre, art design, Saratov, Russia
Crimean Holiday Homes, art design, Crimea, Ukraine
Restaurant “Prague”, art design, Moscow, Russia

Has done various performed  state and private work in different countries.

Collections:
John Mc Cain Unated states Senator, Washington, DC
Suleiman Demirel, Prezident of Turkey, Ankara, Turkey
Nazar Buime, President of Encyclopedia “Britanika”, Istanbul, Turkey
Salim Altun Bei, Investor, Istanbul, Turkey
David Zhvania, Ukrainian MP, Kiev, Ukraine
Margarita Costa, Ambassador of Italy to Azerbaijan, Rome, Italy
Rauf Aliev, Company “A+A”, President, Baku, Azerbaijan
Josef Minderjiahn, Privet Collector, Berlin, Germany
Nick Brasington, Company “Price Waterhouse Coopers”, Moscow, Russia
Franco Dragone, “Las Vegas Centre& du Soleil”, Art Director, Montreal, Canada
Ilmas Ozkan, Member of the Cabinet of Ministry in Turkey
Gornall Leslie Keith, Company BP, Magherafelt, Ireland
Iukli Angist, Poet, Istanbul, Turkey
Bengt Westergren, “AIG Central Evrope & C.I.S.”, Senior Representative & President, London, UK
Armen Petrosyan, Corporation “Aray”, President, Dubai, U.A.E.
Yurij Stashkiv, Company “WRIGLEY”, General Manager, Kiev, Ukraine
Maarten J. Byl, Company “Booz Allen Hamilton”, Washington, DC
Scott W.Fraser, Company “Booz Allen Hamilton”, Washington, DC
Torben Holtze, Ambassador of the European Union to Georgia, Copenhagen, Denmark

His works are kept in various private collections as well.

      The new generation involves in itself purposeful ardour towards any novelties, often towards epatage. Stereotypes of nearly any kind conceptional origin were absolutely denied and destroyed by the 80-s  just with their appearing, thus the formal ways, already characteristic in Art World were completed be the new artistic fermentations. The typological feature of this tendency was none but estimation and novation of artistic traditions having already been accepted in the West.  Sergo Tbileli’s creation bears all sings distinguishing 80-s generation and inculcates upon its due position in the most modern Georgian art. His creative compass is unusually wide-painter, ceramics, sculptor designer. Tbileli’s talent is equally revealed in different trends of art. He doesn’t lack the availability to attain the idea of materialistic variety in any material considering necessary specificity. The stylistic and genre limits of his works verify: modern  variations due to Medieval Christian Art, nostalgic experience of Georgian being commonly and  Old Tbilisi charm are realized in most laconic way on the ceramic files. A new stage in Tbileli’s  creation  doesn’t pass  unnoticed and what’s more is very actively endures from the beginning of the 80-s.Here common principles of postmodernist art most originally finds its way. Postmodernist retrospective of Tbileli’s formal-specific model is wonderfully synthesized by means of ancient, Christian, oriental Renaissance and advanced guard elements. Themes, though very familiar to everyone attain rather unusual sonority. Polystylistic -program theme of postmodernist art is realized by unification of incompatibility outsets and conversed into half mystical world. The picture, structured with  Renaissance principle line and light effect covers the flatness with precisely expressive decorative  “cloth”, sometimes is torn up penetrating into mysterious contemplate. Tbileli’s pictorial works are based on narration. They as if gradually are open therefore causing invisible wish of being in prolonged contact with them “Double codifying” principle obviously works in these works. Complete understanding of the “texts” /if modified this way / demands definite intellectual base though at the same time accepted and clear not only for specialized spectator. At any rate, no matter they are biblical, mythological items or abstraction, aesthetes of formal-colorful structure singles out Tbileli’s works. In human memory as well as in the memory of the whole nation codified symbol-varieties of the compositions: “Wish”, “Crucifixion”, “Venus”, “Apollo And Centaur”, “Adam And Eve”, “Muse”, inserted into the common-decorative cloth are very flexibly interpreted accordingly to the content. Tbileli conceptually realizes mentally-decorative function of each detail simultaneously entire them in one whole. The epochal problem – the postmodernist idea of “Global Disaster”, feeling the existence of destroying power was the very point Tbileli had selected to realize it in the form of the Tower of Bible. Special dramatize is permanent follower of this choice. The pictorial work – “World painted in blood-red color” created in the most intricate period for Georgian history - the 90-s somehow recalls the mentioned theme. Here the personal experience of the local problem and aggression are precisely comprehended in one whole. The picture “Oasis in the Desert” impresses greatly. At first sight the abstractive composition, being structured on color spots as if setting up in front our eyes, mystically attaining the silhouette of golden oasis; quite suddenly it transfers into color spots again. Mirage effect is tried to reflect our sentiments. Such original sort of solution can’t be left beyond  attraction and admiration of spectators. Conceptional tensity and expressiveness yields to the invoice dynamics in Tbileli’s works of later period, such as: “Venice Carnival”, “Nu”, “Flower Cover”, “After the Performance”, etc. Intensification of oriental elements seem to become the stronger point. Tbileli’s oriental consideration of specific-imitative lines gets to be inferior towards the artistic principles. One can hardly come across pure oriental ornaments, neither big-sized geometrical or flower ornaments, carpet like covering the flatness and vivifying colorful-decorative compositions. Unusually interesting are the works of Sergo Tbileli due to the original solvation of the theme as well as rather individual cognition of the Universe. Aesthetes and decorativeness let these picturesque   works be organically synthesized in exhibition and interior areas.