I’m a Tbilisi-born, Berlin-based writer published in a range of magazines and literary journals, including The New York Times and World Literature Today. My fiction and nonfiction explore themes at the intersection of psychoanalysis, film and literature—with a particular focus on power, language, and the systems that shape subjectivity.

My writing investigates the psychic undercurrents of experience: the limits of language, the mystical and opaque, and that which resists symbolic capture—what cannot be fully contained by narrative or form. I’m drawn to the structural and the unsayable, to the inner and often unconscious forces that shape thought, identity, and desire. My work reflects a suspicion of capitalist, patriarchal, and linguistic systems that seek to define, reduce, or commodify experience; Instead, I’m interested in contradiction, in excess, in what breaks the frame or exists at the edges of meaning—liminal, paradoxical, non-categorizable spaces beyond binaries and dualities. 

Formally, my writing leans toward the lyrical, the experimental, and the nonlinear—what Hélène Cixous called écriture féminine: a writing of the body, affect, and the ungovernable unconscious. I’m compelled by a poetics that bleeds, flickers, slips—a hallucinatory, dreamlike, saturated style that traces rather than explains, reveals rather than resolves, disorients rather than affirms.

I resonate deeply with Cixous’s indictment of literature as a site of patriarchal exclusion. Fiction and writing more broadly have not been neutral spaces. They have dressed up patriarchal structures in beauty, metaphor, and narrative, thereby hiding their violence.  They’ve been sites where women are excluded—and even when present, objectified and silenced. She believes writing has become a mirror for male power to admire itself: “self-admiring, self-stimulating, self-congratulatory.” Cixous indicts literature for its complicity in reproducing and sanctifying patriarchal monopoly on meaning, even literature that claims to be humane, beautiful, or liberatory. According to Cixous, writing has been hijacked by phallocentrism, by rationality as power, by the idea that only one kind of logic and voice counts. 

However, when women enter the text as full subjects, it shatters old structures. Because she doesn’t fit. 

“Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies—for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text—as into the world and into history—by her own movement. The future must no longer be determined by the past. I do not deny that the effects of the past are still with us. But I refuse to strengthen them by repeating them, to confer upon them an irremovability the equivalent of destiny, to confuse the biological and the cultural.” Hélène Cixous,The Laugh of the Medusa.

I’m interested in attempting to practice this kind of writing—one that pushes language to its breaking point, not just thematically, but formally and structurally as well.

📌 Awards & Contests

➤  My essay, “Depression as a Lack of Language,” was selected as one of the winning entries in a global essay contest and published in the book Mind in the Line of Fire: Psychoanalytic Voices to the Challenges of Our Times by the International Psychoanalytic Association  (June 26, 2023).

📌 Fellowships & Grants

➤

📌 Residencies & Retreats

➤