He studied in the Tbilisi school of sculpture and fine art (1910–1914), where he met the Armenian artist Alexander Bazhbeuk-Melikyan, and later in Ronson's private academy in Paris (1919–1926).

In Paris, he was a constant customer of the famous "La Ruche," a colony of painters where he met Ignacio Zuloaga, Amedeo Modigliani, Natalia Goncharova, and Mikhail Larionov.

Closeness to the traditions of old Caucasian and Persian art was amplified upon his return to Georgia in 1926.

Like his compatriots (Grigol Robakidze, Konstantine Gamsakhurdia), Gudiashvili freely used mythological allegories (The Walk of Seraphita, 1940), the center of which was a graciously beautiful woman imagined as the mysterious "Goddess of the Earth."

In the voluminous "antifascist cycle" of Indian ink drawings Gudiashvili became a kind of "Georgian Goya": beast-like monsters surrounded the ruins of art and naked "goddesses" conveyed the ideas of the death of culture.