Gagik Ghazanchyan
Starting-point:the moment of arising of the present between the past and the present. Theperception of the unreal on the brink of the apparent reality.
Torealize the relativity of the permanency of the movement in the springing up ofthe strain limit during the clash of consciousness with subconsciousness.Accepting the materiality of the non-existent, to feel, at the same time, theunrealness of its existence.
Aim:to designate the integrality of the acutely felt, the conviction in itsvalidity, the acknowledgement of the contradiction and the record of theconsequence as a fact.
Starting-point:the moment of arising of the present between the past and the present. Theperception of the unreal on the brink of the apparent reality.
Torealize the relativity of the permanency of the movement in the springing up ofthe strain limit during the clash of consciousness with subconsciousness.Accepting the materiality of the non-existent, to feel, at the same time, theunrealness of its existence.
Aim:to designate the integrality of the acutely felt, the conviction in itsvalidity, the acknowledgement of the contradiction and the record of theconsequence as a fact.
Eduard Kharazyan
Gabo (Gabriel Manoukyan)
Bythe big, very big steps we have passed the bridge, leading to the city, then wewalked around the city a little. That city was very beautiful, I shall tellyou, but there were no people. We have casually met a short person who was thedispatcher of that city. He told us, that one artist appeared in the city andasked everybody to rise in this hour on the mountain and wait for him, he will draw them – they haveasked from one, very important place.
Bythe big, very big steps we have passed the bridge, leading to the city, then wewalked around the city a little. That city was very beautiful, I shall tellyou, but there were no people. We have casually met a short person who was thedispatcher of that city. He told us, that one artist appeared in the city andasked everybody to rise in this hour on the mountain and wait for him, he will draw them – they haveasked from one, very important place.
Tigran Matoulyan
Theunintelligible all around me translates into something very important: yetinexplicable, by now, mounding and finds embodiment on the material, within thespace of lines and ornaments.
The sensation is as if I know what is to bedrawn and can pull down the flying images onto the paper or canvas. Startfeeling the surface of material. The idea/theme evokes imagination, pushes foraccelerated flow of thoughts, lines and figures. This is like countlesstempests’ dance on paper and canvas where whirlwinds meet and burst. Theirtwins sparkle in my brain, expand and shape into winding circles, graduallyradiate and dissolve between me and the colour-dressed material. Still, thepaper/canvas do not become staid: I am trying to refrain from making them turndocuments. Moreover, my aim is to let the born phenomenon reach out to Freedom.
Theunintelligible all around me translates into something very important: yetinexplicable, by now, mounding and finds embodiment on the material, within thespace of lines and ornaments.
The sensation is as if I know what is to bedrawn and can pull down the flying images onto the paper or canvas. Startfeeling the surface of material. The idea/theme evokes imagination, pushes foraccelerated flow of thoughts, lines and figures. This is like countlesstempests’ dance on paper and canvas where whirlwinds meet and burst. Theirtwins sparkle in my brain, expand and shape into winding circles, graduallyradiate and dissolve between me and the colour-dressed material. Still, thepaper/canvas do not become staid: I am trying to refrain from making them turndocuments. Moreover, my aim is to let the born phenomenon reach out to Freedom.
Henry Elibekyan
1956. Tbilissi. Years of study of acting and directing; attendingdrawing lessons at the Academy of Arts by ProfessorVassili Shukhayev, a remarkable artist just released from “Gulag” into“freedom.” Those were the years of finding my place in painting, sculpture andtheatre. Under Meyerkhold’s influence, I searched for my path, but alas, undera totalitarian regime where one constantly felt the presence of a repressivemachine, the search of an “exit” and self-realization was nothing but an“illusion.”
1962. Yerevan.Years of study at the department of fine arts; frequent meetings with Minas,Henrik Igityan, Kochar, admiration of great Arshile Gorky opened up new vistasfor me. During these years, I created a series of works in the spirit of “popart” entitled “Man in Space” that were exhibited, in a year, in the Artists’House at a two-day exhibition which caused a tremendous outrage.
Igitian’s statements during that scary, “nightmarish” period did notfall short of roughness either. Kochar, Minas and a group of artists togethershaped contemporary Armenian art in the context of global standards. Igityan’s contribution to thiscause is hard to underestimate. An outstanding manager, a wonderful art critic,politician and diplomat, he made possible the creation and commissioning of theMuseum of Contemporary Art in Yerevan in 1972.
Minas is a great artist, a master of color, sign, symbol, aquintessential philosopher. YervandKochar was a philosopher, the “father” of contemporary Armenian art, a greatsculptor and painter, a pioneer of “painting in space” trend that he started inParis in the1930’s.
I created the system of “Painting Plus Sculpture in Time and Space”in Moscow in1970, not without Kochar’s influence. The system is about models moving inspace, in interaction of three categories: speed of the light, pulsation of theform, transformation of the shape.
Many of my colleagues lack the courage to admit the existence ofsuccession of tradition which is a norm for many civilized nations. Some ofthem, self-proclaimed discoverers, view global culture through a keyhole; theybenefit from the experience of their “neighbours,” and then destroy them, to“cover up traces.”
1956. Tbilissi. Years of study of acting and directing; attendingdrawing lessons at the Academy of Arts by ProfessorVassili Shukhayev, a remarkable artist just released from “Gulag” into“freedom.” Those were the years of finding my place in painting, sculpture andtheatre. Under Meyerkhold’s influence, I searched for my path, but alas, undera totalitarian regime where one constantly felt the presence of a repressivemachine, the search of an “exit” and self-realization was nothing but an“illusion.”
1962. Yerevan.Years of study at the department of fine arts; frequent meetings with Minas,Henrik Igityan, Kochar, admiration of great Arshile Gorky opened up new vistasfor me. During these years, I created a series of works in the spirit of “popart” entitled “Man in Space” that were exhibited, in a year, in the Artists’House at a two-day exhibition which caused a tremendous outrage.
Igitian’s statements during that scary, “nightmarish” period did notfall short of roughness either. Kochar, Minas and a group of artists togethershaped contemporary Armenian art in the context of global standards. Igityan’s contribution to thiscause is hard to underestimate. An outstanding manager, a wonderful art critic,politician and diplomat, he made possible the creation and commissioning of theMuseum of Contemporary Art in Yerevan in 1972.
Minas is a great artist, a master of color, sign, symbol, aquintessential philosopher. YervandKochar was a philosopher, the “father” of contemporary Armenian art, a greatsculptor and painter, a pioneer of “painting in space” trend that he started inParis in the1930’s.
I created the system of “Painting Plus Sculpture in Time and Space”in Moscow in1970, not without Kochar’s influence. The system is about models moving inspace, in interaction of three categories: speed of the light, pulsation of theform, transformation of the shape.
Many of my colleagues lack the courage to admit the existence ofsuccession of tradition which is a norm for many civilized nations. Some ofthem, self-proclaimed discoverers, view global culture through a keyhole; theybenefit from the experience of their “neighbours,” and then destroy them, to“cover up traces.”
Moushegh Mkhitaryan
Each state iscreative. Each essence – spatial and versatile. That is why, to envelope in thefeelings the integrity of a thought, I try to perceive the phenomenon, whichexcites me, from different points of view. Then, the works of different tuning,but concentrated on one idea are being born. As for me, in the art there are nogood and bad forms and styles of expression. The impulses, originated from theworks, are more significant, because it is exactly these impulses that create aspecial atmosphere for the onlooker.
Each state iscreative. Each essence – spatial and versatile. That is why, to envelope in thefeelings the integrity of a thought, I try to perceive the phenomenon, whichexcites me, from different points of view. Then, the works of different tuning,but concentrated on one idea are being born. As for me, in the art there are nogood and bad forms and styles of expression. The impulses, originated from theworks, are more significant, because it is exactly these impulses that create aspecial atmosphere for the onlooker.
Garen Bedrossian
Victor Grigoryan
Ara Alekyan
Rouben Adalyan
My creation is a search, when every time, in each new work I am not afraid of myself. I am very diverse, changeable. I have tried not to flaw myself with monotonous thinking. I think, that a free hand is the most important thing for an artist, for he can do everything he feels, everything he sees. Freedom of conscience and a free hand must be the credo for every artist.
My creation is a search, when every time, in each new work I am not afraid of myself. I am very diverse, changeable. I have tried not to flaw myself with monotonous thinking. I think, that a free hand is the most important thing for an artist, for he can do everything he feels, everything he sees. Freedom of conscience and a free hand must be the credo for every artist.
Vahan Roumelyan
Painting is a part of my mode oflife, by means of which I resist the omnipresent elements of the occupation. Itis the only opportunity to eject in the aggressive frenzy, fixing on thesurface of the canvas the projection of crash and destruction. This is the wayof the distinctive denial of daily and rational existence of things, which liesout of my interests, even if it has a certain sense and meaning, and serves forsome kind of lofty ideals I deal only with a mystery, to which I come nearer bymomentary and all-disclaiming painting. I try to change the breathing rhythm ofthe art. The result isn’t important. It is the process of creation that mattersand memories, which are left on the canvas.
Painting is a part of my mode oflife, by means of which I resist the omnipresent elements of the occupation. Itis the only opportunity to eject in the aggressive frenzy, fixing on thesurface of the canvas the projection of crash and destruction. This is the wayof the distinctive denial of daily and rational existence of things, which liesout of my interests, even if it has a certain sense and meaning, and serves forsome kind of lofty ideals I deal only with a mystery, to which I come nearer bymomentary and all-disclaiming painting. I try to change the breathing rhythm ofthe art. The result isn’t important. It is the process of creation that mattersand memories, which are left on the canvas.
Vahan Kochar
Kamo Nigarian
Turnon the light in the dark room of your consciousness. Whatever is projected indeep white is the initial, confirmed, by the experience of generations.
Deep white is the communication field, the river of consciousness,and the course, which brings us out to the banks of memories. Memories arematerialized in facts, facts in images, and images in deeds.
Reality is presented as a phantasmagoric scenery embracing the factsof our consciousness.
The phantasmagoric nature of the reality is proved by our existencein it.
The piling up of actions in the background of reality is a fact ofmadness. But madness is differentiated from normal consciousness only onconventionality scale. Schizophrenia is the negative of the conventional.
Only the past is controllable by our memories. Memory is adjusted byconsciousness. The outlines of consciousness define the route of our journey.
Travel on the waves of your memory. Turn yourself inside out.Otherwise you will not be able to oppose yourself to reality. This may be abitter truth, but this is a fact.
Turnon the light in the dark room of your consciousness. Whatever is projected indeep white is the initial, confirmed, by the experience of generations.
Deep white is the communication field, the river of consciousness,and the course, which brings us out to the banks of memories. Memories arematerialized in facts, facts in images, and images in deeds.
Reality is presented as a phantasmagoric scenery embracing the factsof our consciousness.
The phantasmagoric nature of the reality is proved by our existencein it.
The piling up of actions in the background of reality is a fact ofmadness. But madness is differentiated from normal consciousness only onconventionality scale. Schizophrenia is the negative of the conventional.
Only the past is controllable by our memories. Memory is adjusted byconsciousness. The outlines of consciousness define the route of our journey.
Travel on the waves of your memory. Turn yourself inside out.Otherwise you will not be able to oppose yourself to reality. This may be abitter truth, but this is a fact.
Daron Mouradyan
The wonder of Fine Arts is in the springing up of the legends, where thehistory and contemporaneity become entangled and are imbued with the light ofideals, common to all mankind, asserting the truth, which can be expressed onlythrough art.
The truth of art is not subjected to an examination, it can be onlyfelt.
The wonder of Fine Arts is in the springing up of the legends, where thehistory and contemporaneity become entangled and are imbued with the light ofideals, common to all mankind, asserting the truth, which can be expressed onlythrough art.
The truth of art is not subjected to an examination, it can be onlyfelt.
Armen Gevorgyan
From time to timethe light catches out from the depth of the space the other inhabitants of thisworld. These original people-models – are the vertical lines, which havepopulated our horizontal world; identical and diverse at the same time, theysilently play their roles, they bring in a certain sense in the creation of thegame, which has its own rules.
The game-battle,where nobody wins, for there is no victory of the metal over the body, ofmovement over static, of constant over infinity, of light over darkness, of manover woman, of reality over illusion, of game over life. But all this is onewhole, which rules out their existence without each other.
From time to timethe light catches out from the depth of the space the other inhabitants of thisworld. These original people-models – are the vertical lines, which havepopulated our horizontal world; identical and diverse at the same time, theysilently play their roles, they bring in a certain sense in the creation of thegame, which has its own rules.
The game-battle,where nobody wins, for there is no victory of the metal over the body, ofmovement over static, of constant over infinity, of light over darkness, of manover woman, of reality over illusion, of game over life. But all this is onewhole, which rules out their existence without each other.
Robert Elibekyan
I think when I work; my studio helpsme very much.
The major thing in the art is theemotional experience.
I think much of the purity offeelings, originality.
The creators are like nature,thunderstorm, eruption of a volcano. I regard everything in such a way, as ithas been created for me.
Indifference is terrifying.
The mediocrity – is a scourge, ahindrance.
It is horrible, when the mediocritydictates it’s will.
The good luck, success – are likethe islands in Japanese sea, you pass from one success to another, as if fromone island to another one. One mustn’t stop, and I go forward, never turningback.
I think when I work; my studio helpsme very much.
The major thing in the art is theemotional experience.
I think much of the purity offeelings, originality.
The creators are like nature,thunderstorm, eruption of a volcano. I regard everything in such a way, as ithas been created for me.
Indifference is terrifying.
The mediocrity – is a scourge, ahindrance.
It is horrible, when the mediocritydictates it’s will.
The good luck, success – are likethe islands in Japanese sea, you pass from one success to another, as if fromone island to another one. One mustn’t stop, and I go forward, never turningback.
Armen Gevorgyants
I haven’t any exact conception,because each exactness entails scantiness.
In my painting and sculpture Itry to achieve the feeling of old things, the feelings of something, that hasgone, that I do not see, when I walk around the city.
I haven’t any exact conception,because each exactness entails scantiness.
In my painting and sculpture Itry to achieve the feeling of old things, the feelings of something, that hasgone, that I do not see, when I walk around the city.
Sona Banoyan
Arthur Sargsyan
The art is a multi-stratum game of the thought and soul, and the best way to justify one’s existence.
For me, Fine Arts is an opportunity to reappraise and revive the old and the new, the chronicle and the contemporaneity.
