Statement of intention: The starting point: the moment of arising of the present  between the past and the future. The perception of the irreal on the brink of the apparent reality.

To realize relativity of permanency of the movement and the arise of the tension limit during the clash of consciousness with subconsciousness.

While accepting the materiality of the non-existent, to feel, at the same time, the unreality of its existence.

The aim: to designate the integrality of the acutely felt, the certitude in its validity, the acknowledgement of the contradiction and the record of the consequence as a fact.

                                                                                                                      Gagik Ghazanchian

In Gagik Ghazanchian’s paintings the viewer is continously confronted with a stereotypical structure of the canvas, and its constituent elemnts, the background and the figure are in contrast with each other. The background represents a collage that has its origins in photography. It embraces of downtown districts of highrise buildings often to be seen in contemporary American megalopolises that had come to replace medieval cities. In contrast  with the background, the third element evolving in the  foreground is nothing else than a color composition expressing motion which is sometimes semi-figurative and sometimes a completely  abstract play of artistic creativity.

            Is this stereotypical construction of the surface of the painting a reflection of artistic rigidity or does it refer to the stereotypical character of contemporary urbanism? On the one hand, we have the standardization of our environment resulting  from the assembly-line principle, which bring forth the material-objective aspects of things: material,color, form and size.One the other hand, the astistic flexibility of the contemporary individual helps to counter-react against theses transformation that have created the imperative to transform one’s whole life into a permanent performance.

                                                                                  Nazareth Karoyan

                                                                                  Art critic

The temperament and human willpower manifest themselves in the colour qualities of the painter. His perception of the contemporary world  has developed far away  from boundaries of mere national self-knowledge, in contrast to many timeserver painters longing to sell and set their names in hardly  established Armenian art market.

            He is able to distinctly define problems of nowdays existence,as a man of 21 century.However, he can’t remain indifferent to the emotional experiances in his home city. he belongs to  this city and he can create poetry concerning the whole spectrum of its drama.

Painter Gagik Ghazanchyan is a focused vector towards the culture of the future. I expect much from his search. His potential as an artist allows a presumption that his destiny is a genuine way of suffering and deep deliberation, enlightenment and disillusionment.

Ruben Angaladyan

Writer, Culturologist