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گارنیک دِر هاکوپیان
تصویرِ دوگانگی (مروری بر آخرین آثار)
دی و بهمن 1398
آثار مشبکی که در این نمایش به تماشا گذاشته می¬شوند، برای اولین بار نمایانگر جنبۀ کم¬تردیده شده ای از ظهور و جلوۀ حروف و خط به مثابۀ نماد در کارهای هنرمند هستند. چنین رویکردی به نمادگرایی که پیشتر به شکل تنیده شدنِ نشانه هایی از اشیا یا اعضا و اندام انسانی در بافتار و طرحی درهم پیچیده در این آثار نمود پیدا می کرد، اکنون به صورت پراکندگیِ حروف در ترکیب بندی های مشابه پِی گرفته می-شود، که گاه تنها حروف به خودیِ خود بی آنکه واژه ای (و به تبعِ آن، معنایی) را برسانند می نمایاند تا به نقش نمادین زبان اشاره کند، و گاه معنا و دلالت صریح واژه ای چون "پوچ" را به قصد دعوت به تأمل در آن بستر برجسته می سازد.
نقاشی های طبیعت بی جانِ هاکوپیان ادامۀ دلبستگی دیرپایی است که از سال های آغازین حیات حرفه ای-اش با او همراه بوده. ترکیب بندی های چشم نواز او از آرایش اشیا (سازها، گل ها، گیاهان، گلدان ها، میوه-ها، و ظرف ها) که با همان اسلوب آشنای خراش و رنگ گذاری روی سطح سیمانی اجرا می شوند، مضمون و درونمایه ای تکرارشونده در تمام این سال ها بوده است. به نظر می رسد برای نقاشی که از آغاز در بازنماییِ سوبژکتیو جهانی که در گذر از صافیِ ذهن او به قوارۀ نقش اندازی های انتزاعی درمی-آید، و تاکید و تأمل بر تنش میان عناصر کلاسیک طراحی و ترکیب بندیِ هندسی را جستجو می کند، چیدمان اشیا از این دست در نقاشی، بازگشت به لذت ساده و بی واسطۀ نگاه به چیزها باشد.
حمیدرضا کرمی
The present exhibition titled “An Image of Duality” includes two periods of Garnik Der Hacopian’s work: his lattice-work series and still lives. Dividing Hacopian’s work into different periods is not intended to describe the artist’s conclusion of one style and language, and transition into another entirely new form of expression. Rather, his decade-long portfolio speaks of his non-stop return to the artistic language and foundations that he has experimented with over the years, and which have served him well in the creation of his work. This approach allows him to sometimes return to a piece that was completed in the past but never exhibited – and based on internal yearnings influenced by his changing context – he will delve deeper into the work and see it in the context of new inspirations and needs, ultimately revising the piece and creating something new.
Hacopian’s first artistic experiments with cement lattice-work date back to 1975; bright, colorful compositions that depict human portraits through geometric surfaces, where the pattern’s edge is sometimes curved and smooth, and sometimes sharp and rough. These works that were first made by carving cement surfaces applied on board, are a continuation of the artist’s previous experiments on paper and canvas with abstract compositions of organic and geometric forms. By 1989 these artistic experiences had gained a mature structure that the artist has maintained to the present time. This is how Ruyin Pakbaz describes these pieces, “...the cement lattice-work are the result of the conscious integration of his previous experiences. The artist’s dual interests and tendencies have reached a unity in these pieces, where external influences are refined by passing though the artist’s internal filter. Visual signs are transmuted into abstract patterns. Like his previous work the compositions here continue to remain self-referential, but through their patterns they express a slow or fast rhythm. The contrast between curved lines and flat surfaces, along with the application of black and white or colorful shadows, makes the work seem two/three dimensional. This suspended sense of spatiality adds to the dynamism of the work. By covering the carved surface of concrete with matte or bright colors the artist softens the background texture, a move that works well with the piece in whole.”
The lattice-work in the current exhibition present a less seen aspect of the artist’s work for the first time: the symbolic use of letters and calligraphy. This approach to symbolism that had previously appeared in the artist’s work as intertwined objects, limbs, and human figures materializing from interlaced patterns and textures, is now revealed in the form of dispersed letters, sometimes reflecting the symbolic role of language by remaining independent of each other without forming a word (and thus implying a meaning), and other times inviting further deliberation by combining to create clear words like “Pooch” (futile/void). The artist writes about this particular technique, “Carving on cement was influenced by my childhood, when I used to scratch patterns on the fogged window of my room with my fingernail, and suddenly a variety of different forms would emerge. Of course my practical experiences in the area of plasterwork, tile work, illumination, linoleum and polystyrene carving, and woodwork were also very important in my decision to work with cement.”
Hacopian’s still lives are a continuation of a deep interest he has had since the beginning of his professional career. His pleasant combinations of objects (musical instruments, plants, flowers, flowerpots, fruits, and dishes) that are created using the same technique of carving and applying paint on cement surfaces, are a subject he has continuously returned to over the years. It seems that for an artist who in his subjective representation of the world passes it through the filter of his mind to create abstract patterns, and who seeks to emphasize the tension between classical elements of design and geometric combinations, creating still life compositions is a return to the simple, straightforward pleasure of looking at things.
In these paintings where the subject matter is always located within a focal composition, objects are simplified without becoming abstract and flat. The painterly quality of color application and its contrast with the flat surface and clear boundaries of the shapes creates a dynamism and visual energy that despite the fixed quality of the subject matter (depicted objects in the still life), make the viewer’s gaze travel all over the piece. While he is indebted to western art in his experiments and discoveries, and has taken advantage of cubism and expressionism in his creation of forms and use of colors, nonetheless Hacopian has developed his own language by combining these modern styles with the heritage of ancient Iranian figure drawing and Armenian ornamentation and patterns.
Hamid Reza Karami
January 2020
نمایشگاه آثار " گارنیک در هاکوپیان " تصویر دوگانگی " مروری بر آخرین آثار " دی و بهمن 1398 گالری آریا
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Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.
