Artist's Statement


I think these works would lose almost nothing if they were exhibited in the simplest manner, where graphic abstractions emerge as self-contained images, because the artist, in the process of his work conducts dialogue with the only surface available to him?the paper. But the issue is something else. If we pay attention to the plastic solutions adopted by the artist we will instantly notice the paradox of contradiction and infusion of lines.

Abundance of lines, which in turn creates specific expression and infuses with its density results in internally restrained tension. The linear "eternity" seems to have brought the artist to "eternal" labor. The quantity of graphics is as expressive as the linear chaos within them.

And all this prompts us ? certain expositional solution that could continue the dynamic development of graphics, and simultaneously convert it into an encompassing image.

I think it is important to note an important argument, which is the fact that in this show the art of exhibition uses the square?the format of the paper.

By joining the square abstract images the exhibition turns into an expanded "design" project, which by using the white surface of the walls and its large scale transforms the entire exhibition space into a single painting.

Actually it is only the limitation of the space which can put a stop to the flow and the growth of lines.

In separate works by means of variety and abundance of contrasting and concerted strokes of pencil, the artist turns the surface of the paper to a black plane, while sometimes using the white surface of the paper as well.

Thus by watching the exhibition at a distance we notice dynamic development of black and white planes.

Only by convergence of lines we notice the many-layered chaos of lines, which leads us to a boundless avant-garde state.

Edgar Amroyan