The Sense of Galleries
A painter is someone who is used to turn his or her soul into a mirror, where the entire universe is reflected.
Perhaps it wasn’t the entire universe that was reflected at the exhibition at Haigazian on the 11th of December 2009, but the broad there “Heritage And Identity” allowed the artists to show their different sides. Creative ideas were displayed by all 10 artists who showcased their personal, passionate tempers and technical skill to broaden the audience’s point of view about the model society.
And so, the works of the young artist Samuel Charbel Aoun were the most modern from a social point of view and their technical execution. In this context, it is appropriate to point out the comments of several prominent art critics. They claimed that modernism is aesthetic sterility devoid of common ideas. But luckily, every theory is contradicted by another theory, and more importantly, by the beholder.
So far, Huxley’s theory was proven to be the most correct as he introduced the theory of cultural development, where self-transformation and self-fulfillment take place. These processes are the result of the cooperation of common laws present in the stages of nature’s own psychological development.
Even simpler put, modernism remains the most favored direction in contemporary visual arts.
Amazing as it may be, but the principle of formalism, which remains the foundation of modernism, has left the mainstream and as a result, today, modernism is one of the most sought after, bright, non-formal and well thought through currents in modern arts.
If we look at the work “Bounded Movement”, we will see the living, breathing thought of a caring man who shows us the repulsive side of unilateral relations.
By showing his protest, the artist has used the only true colorful resolution which depicts the blood flow of today’s society in a bruise.
But, allow me to point out by the words of Jean Paul Sartre, the surrealistic negativity is harmless to the bourgeoisie.
Charbel Aoun is a smart young man and we can only wish him the best success in his artistic future.
On the other hand, Osanna Telfeyan has shown herself on a completely different level by adapting the style of an old Armenian miniature booklet, but under a magnified resolution.
A tiny letter from some old manuscript is lovingly reproduced as a work in itself and thus becomes a theme of its own. The laconic depiction of a single letter has obtained value and meaning in the audience’s eyes.
In reality, the letter carries enormous psychological meaning. It tries to associate man to one or another cultural dimension, an identity and as such, has the right to be a painting in itself.
It is interesting to note that Osanna adds a straw of wheat under her signature as a symbol of immortality.
Naturally, the artist does not prophesize immortality to herself, but to the language she worships, the alphabet of Mesrob Mashdots created by divine intervention.
Osanna is a teacher of drawing, and it is possible to say with certainty that all of her principles are correct.
Another wonderful artist, Zeina Badran, has showcased her original works executed in graphic style and a more complete feel with elements of Dadaic revelations.
But Zeina’s works are unlike Oldenburg’s who used to spread chaos in full nuance and saw fully fledged compositions in piles of garbage. With Zeina, those are simply texture filling elements. Zeina’s execution in terms of skill and professionalism is beyond reproach. She is a complete professional.
In a naïve and theatrical style, Sarkis Toulujian has demonstrated his works. His storytelling scenes are not corrupted by the coloristic revelations, unlike the country itself, they help us concentrate on the humoristic and routine mainstream of life’s cycle.
The works of Mohammad Abdallah are incredibly original and alive in their contours. Even so that it is hard to notice all others before him.
The professional Mohammad Abdallah has shown a series of folkloric portraits. His works are devoid of any technical faults or excesses, because they are executed in the classical color scale of Johannes Ittanes. It is impossible to separate the portraits, because they look complete together, as a group of unique individuals, where one spot of color complements and harmonically blends into the neighboring one to create a whole structure.
The works of Georges Mattar and Mireille Gogukian are examples of “Mon Martre’s” style, which is characteristic of depicting human abodes.
Our psyche is used to snatching facades and buildings from the urban landscape. It is almost a syndrome of wasting time in prolonged traffic jams and is not mandatory in their case.
The artist Vartan Khabayan has demonstrated for the viewer’s judgment his works executed in the airbrush style, which demands great concentration, skill and effort. But, the work is worth it, because it is concealed beneath a layer of symbolism and looks extremely competitive when compared to the others who have escaped much attention. Nonetheless, all works were worthy of the viewer’s eyes.
The doubtless favorites of the exposition were, of course, the works of Silvart Fazlian, a veteran artist. The loving approach to her aquarelle themes have successfully been transferred to the viewer and have become fragile but precious symbols of the exposition “Heritage and Identity”
As a conclusion, it is fitting to say that 50 years is not enough time to judge an event, much less a style.
But, it is time that proved every wave of style to be a reinforcing splash of creativity and stimulation for the senses.
By Ludmila Alikian
Translated by Rouben Alikian