Poghos Haitayan<\/strong>
\nArt Critic<\/em><\/p>\n
Painter Vladimir Margarian (Valmar) is an outstanding representative of the young Armenian figurative\u00a0artists of the 70’s, a craftsman aspiring for new artistic forms. He has had solo exhibitions in\u00a0Yerevan, Tartu (Estonia), Moscow, Yurmala (Latvia), USA, Hungary. He has been exhibited in several\u00a0countries abroad.
\nV.Margarian, a graduate of the Yerevan Arts and Theatre Institute, is a painter who travels\u00a0along complex paths of exploration. Professionally gifted and strongly aware of the depth and\u00a0essence of classical art, Margarian aspires for perfect, complete forms in his paintings as well as\u00a0graphic works. The rational principle of morphography provides as architectonic character to his\u00a0oeuvre. With a starting point free of randomness and rash sentiments embedded in the creative\u00a0process, he aims at the harmony in the mutual ties of man with nature, a palpable materiality, discovering\u00a0delicate psychological bonds between them. In soft velvety augmentations of colour, line\u00a0and grisaille, he produces\u00a0interconnected\u00a0series of portraits, landscapes; still life’s and\u00a0abstract arrangements, eye-catching in the sincerity of their execution, the authentic depiction of reality, and\u00a0the simple and structural composition. The complicated emotional world of contemporary man, in\u00a0its multifaceted expressions, becomes the thematic raw material for Margarian’s output.\u00a0In the self-portrait and still-life series (“Still-life with glass plates”, “Self-portrait”, “Still-life with\u00a0flowers”, “Still-life with pomegranate”, “Still-life on a carpet background”), created in 1976-86, the\u00a0contemplative and sensual insights of man and material environment parallel the complex undulations.
\nThe classic conceptions of colour, size, and rhythm are put in the service of exposing modern,\u00a0fundamental issues. The landscape series “From my window”, “Noon”, “Street in Hankavan”,\u00a0“Evening” and “Winter” are among the achievements of the young artists. It captures by its structural\u00a0simplicity, by the figurative integrity of delicate and transparent painting surfaces.
\nThe sub-text of the graphic is the mobile interpretation and transformation of contemporary\u00a0man’s thoughts and emotions. Their plastic and structural variety imply the paradoxically of the\u00a0painter’s sentiments, the “tunes” born of the contact between I and the world outside. The harmony\u00a0in the forms of expressions and emotional content surprisingly creates a pictorial comprehensiveness,\u00a0at times monosemiotic and easily legible, at other characterized by complicated knots of\u00a0diverse symbols. The spiritual tension and dramatic accents are transferred to each segment of the\u00a0surface of the picture, enveloping it in feelings of sorrow, longing and loneliness (“Indifference”,
\n“Discomfort”, 1980). The emotional charge born of the active collisions of man with the material\u00a0world is “state”, at others embed with deep dramatism (“Requiem”, 1984). His “Love-songs” are like\u00a0breeze caressing the face, laden with the scent of the fields, pure and immaculate.\u00a0Vladimir Margarian’s art is multi-striped and manifold. In his beats the heart of a living with the\u00a0issues of man and life.<\/p>\n
Poghos Haitayan<\/strong>
\nArt Critic<\/em><\/p>\n
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