ARAM HAKOBIAN

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Review

Positive Art of Aram Hakobian

 

     The paintings of Aram Hakobian can be compared to open windows, which lead to another, much more colorful and joyful world. A world, where there is no time, only the state. Precisely the state of soul is what the artist aspires to convey in his works, be they landscapes, still-lives or abstract compositions.  The peculiar combination of colors is the artist’s main tool in the creation of such a positive atmosphere, that one just can’t help returning to his paintings again and again.

    One can find  in his works remote motives of Saryan, others of Kandinsky. Both are among his main teachers. But it is impossible to deny that Aram Hakobian has created his own unique, independent style which successfully combines the artist’s own talent with the best traditions of Armenian and Russian painting, and makes him unmistakably recognizable among many others.

 

Natalia Aliakrinskaya

 Journalist


 

   For several years I’ve been collecting the paintings of Aram Hakobian. His works can not leave indifferent even those uninitiated into art. What immediately strikes the eye  is the  sincerity of the artist expressed in form of a portrait, a landscape, an abstract composition as well as in his choice of color. The mixture of colors is often minimal in his works. The correlation of colors is always optimal and harmonious and disposes to a warm, vivid perception of his painting.

 

Vladimir Kiselev

Collector


 

“ Where Heart Aspires to.…..”

 

     Standing in front of a painting feels much the same as to happen unexpectedly upon a magical door leading to unknown experiences. The door is half-open, as if inviting you to enter, but at the same time you can’t simply step into the other side. You should have a key, for the door is magical, and key to it is Observation. Observing the landscapes of Aram Hakobian involves us in the cozy, joyfully quiet atmosphere of Armenian villages spread in the midst of virginal highlands and colorful palette of Armenia’s nature. Color, this is the principal means of expression in the works by Aram Hakobian, be they abstract or figurative. Being an accomplished master of both these streams Aram Hakobian has managed to create a world where there are no clear-cut limits between these two apparently opposed concepts, and in place of colliding, they harmoniously merge and complement each other. Layers of bright colors put next to each other, often in the absence of any intermediate tones, and dense brushstrokes create a composition of many plans, where each plan is defined by the limits of its own color. In the landscapes of Aram Hakobian real objects (trees, huts, mountains, fountains) aren’t strictly figurative either. They are, more exactly, a masterly obtained fusion between color and certain geometricity of forms, which produces associations with familiar objects of reality in the mind of the observer. Once having penetrated into this fairy-tale of calm happiness, the spectator stops from being a mere observer and is ready to play his own role in the story, left exclusively to the shrewd admirer by the artist himself. It is the role of a traveler, who, tired from a long and exhausting journey, has at length found his Oasis and only has to enjoy and celebrate this beauty.

   Along with the uninhabited landscapes, the portraits of Aram Hakobian are no less engaging for a traveler, since there can’t be a journey more fascinating than the one through the dreams and anxieties of the human beings. For this purpose, in some of his portraits the background is abstract or monochromatic, which stresses even more the mimicry and facial expressions of the characters, who, in this way, totally absorb the attention of the onlooker. In other works with human figures the artist’s favorite theme, the landscape, plays the part of a background. In these works especially, the essence of Aram Hakobian’s all creations is revealed with extraordinary intensity. Love. Lovers in an incredible rapture so harmoniously unified with each other, as well as the nature surrounding them, that it takes a while to the spectator to discover the colorful boundaries that separate the protagonists of these amazing compositions. Within them, without  denying each other, all the elements are continuous and integral, like the whole art of the Master who breathed life into them, proving, thus, that there is no place to superficial contradictions as soon as one has found courage to step into the other side of the door.  

Mane Sargsian 

Art critic