Throughout his career, Aram Isabekyan has been experimenting with different styles and attitudes. His interests range from the accurate and nature-devoted pictorial language of the Dutch 17th-century painters to surrealistic fantasies inspired by Delvaux and Chirico, Garzou and Morandi, from realistic landscapes full of light and air to grim symbolic compositions dedicated to the dark pages of the history of Armenian people, from religious motives to portraits sharply emphasizing the characteristic features of the models. In the paintings presented here, Isabekyan reveals one more of his numerous attitudes. Generally adopting the fresh and lively language of modernist painting, the artist creates unique combinations of colours, forms and texture in each particular painting, putting each of them in a special conversation with different points of pictorial tradition. “The Fairyland” is an elegant experiment on the verge of expressionist aesthetic and abstraction with special references to both modernist attitudes in the history of Armenian art, such as, for example, the early period of the art of Vahram Gaifejian, and the rich pictorial language of Abstract Expressionism. The latter influence goes even further in the work called “Summer Days”, in which the general formal attitude of Arshile Gorky’s style is combined with bold experiments with colour and painting technique. In an unexpected manner, these works also bear the influence of the art of Isabekyan’s father, the great Armenian painter Eduard Isabekyan. Certain references to his powerful painterly surfaces flashing and pulsing with rich colours and delicate hues are visible here. In the painting called “Path”, the contrasts of deep, saturated colour fields and abrupt light spots, cold and warm colours, the stability of the horizontal field at the bottom of the composition and the intense rhythm of the flame-like forms in the middle part create a unique image of the rich and picturesque Armenian nature, referring at the same time to the Munchian pictorial world. Meanwhile, “The City” refers to Signac, as well as Matisse, creating a general mood of freshness and joy.
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