{"id":8167,"date":"2025-09-11T10:40:34","date_gmt":"2025-09-11T06:40:34","guid":{"rendered":"https:\/\/henryelibekyan.am\/2025\/09\/11\/%d5%b0%d5%a1%d5%b5%d5%bf%d5%b6%d5%a1%d5%a3%d5%b8%d6%80%d5%ae%d5%b8%d6%82%d5%a9%d5%b5%d5%b8%d6%82%d5%b6%d5%b6%d5%a5%d6%80%d5%ab-%d5%b8%d6%82%d5%b2%d5%ab%d5%b8%d5%be\/"},"modified":"2026-01-16T11:24:39","modified_gmt":"2026-01-16T07:24:39","slug":"%d5%b0%d5%a1%d5%b5%d5%bf%d5%b6%d5%a1%d5%a3%d5%b8%d6%80%d5%ae%d5%b8%d6%82%d5%a9%d5%b5%d5%b8%d6%82%d5%b6%d5%b6%d5%a5%d6%80%d5%ab-%d5%b8%d6%82%d5%b2%d5%ab%d5%b8%d5%be","status":"publish","type":"post","link":"https:\/\/henryelibekyan.am\/en\/2025\/09\/11\/%d5%b0%d5%a1%d5%b5%d5%bf%d5%b6%d5%a1%d5%a3%d5%b8%d6%80%d5%ae%d5%b8%d6%82%d5%a9%d5%b5%d5%b8%d6%82%d5%b6%d5%b6%d5%a5%d6%80%d5%ab-%d5%b8%d6%82%d5%b2%d5%ab%d5%b8%d5%be\/","title":{"rendered":"ON THE PATH OF DISCOVERIES"},"content":{"rendered":"\n

Lilit Sargsyan<\/em><\/p>\n\n\n\n

In the panorama of contemporary art in Armenia and the post-socialist cultural space, Henri Elibekian is such a well-known and significant artist that today there is already a felt need to present his work within the broader context of contemporary art. In the mid-1950s to the early 1960s, he emerged immediately and indisputably as a vivid, extraordinary, contradictory, and multifaceted creative personality. Throughout his entire artistic path he has carried the pathos of innovation and inner revolt as his primary driving force.<\/p>\n\n\n\n

Henri Elibekian is not only one of the well-known innovative Armenian \u201cSixties generation\u201d artists (\u0448\u0435\u0441\u0442\u0438\u0434\u0435\u0441\u044f\u0442\u043d\u0438\u043a), but also one of the classics of the Armenian avant-garde. He is a landmark phenomenon. H. Elibekian\u2019s creative path\u2014beginning in the years of the \u201cthaw,\u201d living through both the \u201cstagnation\u201d of the 1970s and the \u201cperestroika\u201d of the 1980s\u2014entered the period of \u201cindependence,\u201d thus dividing into two historical phases: Soviet and post-Soviet.<\/p>\n\n\n\n

Yet H. Elibekian\u2019s creative restlessness does not allow him to adapt to any era or regime. Negation, which was the spirit of the 1960s even beyond the \u201cIron Curtain,\u201d becomes, for H. Elibekian and his contemporaries, a creed as both a civic and personal stance. \u201cThe \u2018Sixties\u2019 that have already become classic in our day are a cultural concept\u2014a collective characterization of an approximately two-decade period.\u201d\u00b9 The lives and creative paths of the rebellious Sixties artists, despite different and often opposing visual imaginations, unfolded in resistance to the officialdom of totalitarian culture, and their only weapon was undeniable talent. \u201cEverything was subordinated to the administrative-command system\u2014exhibitions, the press, and their \u2018incomparable\u2019 theorists. Naturally, the new ones had to overcome many barriers to bring the voice of their heart and mind to the public. In the late 1950s and early 1960s, new names appeared in the Armenian fine arts firmament; together with Minas they entered exhibitions with new ideas in color-line and plastic form (the artistic rendering of more complex psychological knots in the relationship between reality and the human being, the widening and deepening of the thematic range, the emergence of modern forms, the adoption of new iconographic systems). Alongside freeing themselves from clich\u00e9 and turning diverse spheres of life into material for depiction, these artists boldly assimilated the rich stylistic traditions of national art and 20th-century fine art,\u201d writes the Sixties art critic P. Haytayan himself.\u00b2<\/p>\n\n\n\n

The Elibekian phenomenon is exceptional in the sense that he avoided persecution by the totalitarian regime\u2014although he was not only an innovator (as many Sixties artists were), but also one of the few in the Armenian dissident nationalist-liberal milieu of the 1960s whose plastic thinking had points of contact with the Western avant-garde. Extremely diverse, rich, and deep are the roots of his art, drawing both from the national substratum and from contemporary Euro-American conceptions; distinctive too is the historical-cultural context intertwined with the personal that gave rise to this phenomenon. It is the contemporaneity\u2014the properly artistic, communicative, and ideological qualities\u2014that keeps H. Elibekian\u2019s art afloat in the vortex of post-Soviet upheavals.<\/p>\n\n\n\n

The 50th anniversary of the artist\u2019s work is not only his jubilee; it is also the anniversary of the Armenian avant-garde. As early as 1993, Susanna Harutyunyan wrote: \u201cAnd why do our art historians not accept 1956 as the starting point for the emergence of the Armenian avant-garde? Why not restore the \u2018broken link of times,\u2019 why not notice the logical chain from 1956, from Elibekian\u2019s first works, toward the works of the new generation of Armenian avant-gardists?\u201d\u00b3 The problem of the \u201cbroken link of times\u201d is indeed present and urgent in Armenian cultural reality. However, we consider it inopportune to discuss it here. We are interested in this problem from a positive perspective: H. Elibekian\u2019s work reflects it, as a kind of watershed between eras and a crucible of generational creative destinies. In it, various sources, systems, and elements of modern Armenian and world fine art merge.<\/p>\n\n\n\n

The Sixties\u2014an era that became a powerful impetus for the development of art in subsequent decades and provided basic orientations\u2014entered our art history under the sign of innovation. This was a turning point. Broadly speaking, the renewal of artistic language in Armenian art proceeded in two directions. The first was a purely painterly line rooted in post-impressionism and subsequent movements, continuing and transforming the Sarian tradition. Those who belonged to the other path set themselves not merely the task of working the painterly surface. This model seeks to overcome the two-dimensionality of the picture, uses volumetric-constructive and spatial solutions, collage technique, the object environment, thus approaching constructive spatialism (\u043a\u043e\u043d\u0441\u0442\u0440\u0443\u043a\u0442\u0438\u0432\u043d\u044b\u0439 \u0441\u043f\u0430\u0441\u0438\u0430\u043b\u0438\u0437\u043c), the aesthetics of the \u201cthingly\u201d and the absurd. H. Elibekian is a vivid representative of this second direction. It is well known that the introducer of plastic transformations and space-time principles into modern Armenian fine art was Yervand Kochar, whose presence and spirit in the Yerevan artistic milieu served as a powerful impetus and guide for many of our contemporary painters. Especially Henri Elibekian, Ruben and Raffi Adalyan, Rudolf Khachatryan and others most consistently continued Kochar\u2019s spirit-related spatial-plastic searches and experiments. The multifaceted nature of H. Elibekian\u2019s work is interesting in that in certain series two principles merge: the planar and the spatial-plastic.<\/p>\n\n\n\n

The historical significance of Sixties innovation for Armenian art also lay in rediscovering and continuing the interrupted searches and achievements of early 20th-century Armenian fine art\u2014searches that, after long cultural isolation, had come very close to European innovations and were involved in the global artistic process, but were cut short by socialist realism. H. Elibekian is one of the artists who, through his work, contributed to restoring the broken chain of Armenian art history. Ruben Angaladyan notes that H. Elibekian \u201c…even if he has a counterpart in 20th-century art, it is Georges Hrashali\u2014Georgy Yakulov.\u201d\u2074 This comparison not only illuminates a visual similarity in creative temperament and certain methods, but also affirms a line of inheritance. H. Elibekian\u2019s art transmitted the avant-garde tendencies of two giants of the \u201cArmenian\u2013Russian\u2013European\u201d avant-garde\u2014G. Yakulov and Y. Kochar\u2014into the second phase of modernization of mid-20th-century Armenian art. If early 20th-century \u201cbig city\u201d artists Yakulov and Kochar revealed, in various ways, the problems of Western urbanism, then at the threshold of the late 20th century H. Elibekian shifts his searches into another domain: the existential problems of contemporary human beings. His search for a new expressive language serves existential reflections\u2014penetrating psychological insight, transgression, and violent emotionality. These manifest as expression, the suggestive power of color-plasticity, colorfulness, plastic metamorphoses, the stripping bare and \u201cdissection\u201d of form-generating corporeality\u2026 \u201cPsychoanalysis absorbs me; I rummage through the human being. My thought rushes forward; my work barely catches up with it. I am an \u2018expressionist\u2019; I have no time to plan.\u201d\u2075 \u2014this is the painter\u2019s broad and concise formulation of his own creative temperament.<\/p>\n\n\n\n

In the plastic solutions of the idea of human alienation, H. Elibekian draws on the methods of Y. Kochar\u2076 and P. Picasso. Genre experiments and the search for additional dimensions are expressed especially through fissures in volume or pictorial plane, opened cavities, anatomical transformations, cubist fragmentation of planes, and the self-sufficiency of each viewpoint among many. Further transformations of art forms and the search for new dimensions led, as is known, Kochar to \u201cpainting in space,\u201d and Elibekian to the creation of a system of \u201cpainting + sculpture in time and space.\u201d Later Elibekian supplemented it with action involving a living model, through which the work captures the fourth dimension\u2014time.\u2077 Yakulov\u2019s and Elibekian\u2019s spatial-plastic synthesis, unlike Kochar\u2019s, is connected with theatrical design and design more broadly. The impetuous psychological temperament of Yakulov and Elibekian is the trait that drives the artist toward theater: he is the unique \u201ctheater\u2019s\u201d playwright, director, performer, and designer all at once. As in real theater, their distinctive spatial-plastic thinking contributes to the creation of a dynamic environment that, in real space, combines diverse object forms, different planes, and viewpoints. Their Tiflis-Armenian roots, intertwined with the innovations of modern European art, formed a universal \u201cactor-Artist\u201d type. In Waves of Happiness<\/em>, Telman Zurabyan writes with essayistic lightness about \u201ckintoyakanutyun\u201d\u2014a masquerade-theatrical sensibility prevailing in urban secular culture, which in one way or another influenced all Tiflis-Armenian artists.\u2078 By theatricality we mean not only stage design or acting proper. Yes, in his time Yakulov, who collaborated with theater innovators V. Meyerhold and A. Tairov, reformed the entire system of stage construction, transforming the passive two-dimensional background into an active component of stage space, a spatial-plastic equivalent of dramaturgy. Elibekian too\u2014repeatedly addressing in his works and theories the legacy and figures of those great directors who inspired him from the very beginning\u2014deeply understood and continued Yakulov\u2019s discoveries in stage design. \u201cStage painting assumed \u2018directorial powers\u2019: it was the \u2018optical directing\u2019 of the performance, or a pictorial spatial formula of its idea.\u201d\u2079 The seeds of spectator interaction and the principle of the audience\u2019s direct immersion into an artistically formed environment had already been introduced by Yakulov in his authorial interior project for the Pittoresque<\/em> caf\u00e9 (\u201cThe Red Rooster,\u201d 1916\u201317). In Elibekian\u2019s work, outside the theater proper, that principle is developed even more consistently and conceptually as a distinctive philosophy of life and creation\u2014an interactive synthetism expressible by the formula \u201clife as theater and theater as life,\u201d which blurs the boundary between the reality of life and the reality of art. This is also the point of convergence between the creative impulses of the notable Tiflis-Armenian artist S. Parajanov and H. Elibekian, in the sense that the author\u2019s living action is added to the spatial-plastic dimension. Elibekian is known as one of the first Armenian authors of performances and manifestos. In Parajanov\u2019s actual lifestyle\u2014his meetings and leisure with friends, acquaintances, and artists\u2014one sees an improvised, masquerade-theatricalized inclination toward actions formed with handmade objects and unusual clothing, which he realized as a counteraction to the ban on expressing himself in cinema. In Elibekian\u2019s case, this type of theatricalized activity manifests as a \u201cprogrammatic\u201d creative principle of organizing concepts. Alongside acting as an aesthetic, allegorical, and psychological category in his art, the conceptual inclusion of real objects and the living model is the key that reveals the unique aesthetics of his synthetic works. Painting objects and living models, pairing them with rags like fantastic costumes, creating new \u201cdevices\u201d by combining objects symbolizing former everyday life with scraps and waste\u2014this produces an absurd fireworks display. And most importantly, this kind of creativity involves spontaneous audience participation and improvisation. And not only that: when Elibekian performs his performance, he \u201cputs on the clown\u2019s mask.\u201d It saves him the way childishness saves the child who tells the crowd the truth\u2026<\/p>\n\n\n\n

The subconscious sources of this life-giving act of animating objects, as we see in the painter\u2019s article \u201cOur Tragicomic Existence\u2026,\u201d lie in childhood memories.\u00b9\u00b9 It was not only a theatrical \u201cfireworks\u201d that amused, delighted, and frightened the child, the false secular glitter suffering from nostalgia for pre-revolutionary life, the awe-inspiring creative bohemia, but also families\u2019 constant fear of possible persecution, searches, arrests. Parajanov sometimes told of this too, and friends and contemporaries recorded it from his words.\u00b9\u00b2 One\u2019s own fate and biography expressed allegorically in creation, the invisible hovering of ancestral spirit, the country\u2019s history, the mental combination of past and future as a subconscious foundation\u2014these are constantly present in the art of both Elibekian and Parajanov. From childhood memories also arises not only the object world with applied meaning: in Soviet daily life, the presence of old-fashioned, valuable things was legally prosecuted and acquired the meaning of everyday dissent. This explains the attitude toward the object as a sacred aesthetic substance. The reflections of fleeting Tiflis-Armenian luxury appear, perhaps, in Elibekian\u2019s splendid portraits of women, where he adorns ladies with fantastic hats (portraits of his mother\u2014the prototype of \u201cwoman\u201d). Meanwhile, in Parajanov\u2019s art they abound (one cannot help recalling the hats he created). Unlike Parajanov, in Elibekian\u2019s works the object almost no longer has an aesthetic significance in itself, although it contributes to creating a certain aesthetic (or anti-aesthetic) atmosphere. It is an existential symbol of the absurdity and drudgery of human existence\u2014its oppression and aggression.<\/p>\n\n\n\n

As a result of prolonged study and constant relocations among various faculties in Yerevan, Tbilisi, and Kyiv, Elibekian became a student of the painting faculty at the Yerevan Institute of Fine Arts and Theatre at a time when he was already an established Artist. Angaladyan writes that Elibekian \u201c…headlong burst into art (not entered, not leapt, but precisely burst in), as into life.\u201d\u00b9\u00b3 The years 1956\u201366 are Elibekian\u2019s early period. His path begins with works that in Armenian art history became heralds of a new language and a new plastic thinking: the 1956 Composition with Brushes and Perfume Ampoules<\/em>, the 1966 photo-manifesto Dirty Shoes<\/em>, and the same year\u2019s series Man in Space<\/em>. The tragedy of the contemporary human being\u2019s conflictual existence in spiritual and social environments is the main theme of Elibekian\u2019s work and also his personal tragedy. In Armenian art grounded in a positive aesthetics of the spiritual and harmonious and a pantheistic worldview (Martiros Saryan and his school), this was an entirely different mindset. The display of mud-smeared shoes was the young artist\u2019s first loud proclamation, in which mud appears as a general allegory of moral degradation and modern destructive civilization\u2014a motif that runs like a red thread through his entire oeuvre. In Man in Space<\/em>, Elibekian presents briefly and exhaustively his concept of the Human problem, which is substantiated by his recent words: \u201cThe contemporary world is eclectic. The contemporary human being, like art, is entirely made of quotations.\u201d In the allegorical presentation of the human environment in that series, he again turns to the chaos of the object world. A characteristic feature of Elibekian\u2019s series is the replacement of the human figure with things and junk, or the complete absence of the figure, as in the 1977 object Seated Man<\/em>. The motif of disappearance, alienation, and uselessness is also seen in the so-called 1980 series Soft Sculpture<\/em>, and it will appear repeatedly later as well, for example in his performance designs (\u201cLove the Human Being,\u201d 2001, and others). The mannequin-like forms evoke the miserable remnants of what once was the integrity of the human \u201cbody.\u201d<\/p>\n\n\n\n

Unlike other modernists, the search for a new language is not an end in itself for Elibekian. He says: \u201cI create contemporary art with a classical essence,\u201d and his experiments are meant to reveal that essence.<\/p>\n\n\n\n

Many authors define Elibekian\u2019s use of objects as the first pop art in our art, based on the 1956 Composition with Brushes and Perfume Ampoules<\/em> (S. Manukyan, P. Haytayan, K. Mikayelyan, S. Harutyunyan, and others; see the bibliography at the end). This historic work\u2014created by an artist still unfamiliar with that Western post-avant-garde direction\u2014has become a legend. Indeed, it is one of the few of his series where the object appears purely as such, and yet, as S. Manukyan believes, \u201cas an allegory\u201d (\u201clife is a crushed ampoule\u201d).\u00b9\u2074 This work lacks the artistic density characteristic of Elibekian\u2019s later plastic compositions. Pop art, whose genealogy is conditioned by specific socio-cultural situations in the West, has gone through several phases of development and transformation and is not homogeneous.\u00b9\u2075 In Elibekian\u2019s oeuvre it is played out as yet another \u201cquotation.\u201d\u00b9\u2076 To characterize pop art in Elibekian\u2019s work, we have to bypass its etymology: of course, the artist was concerned neither with the \u201cpopularization\u201d and \u201cmassification\u201d of art (in a totalitarian country, the bodies and methods for that were different), nor with opposition to the dominance of abstract painting, but with a tactic of resisting cultural totalitarianism and a search for an as-yet-unknown expressive language. Nevertheless, the artistic intuition of a creator who conceived a number of unprecedented works for his time and place, the measure of his inner freedom, and the force of his talent are evident. Elibekian\u2019s pop art also includes his 1970 graphics, several sheets of which are presented in this book. In the classical paper collage and in the frottage technique favored by pop artists, unlike relief series, the ready-made appears not as a ready object but as a ready image. As Elibekian\u2019s series grow in volume, they gradually become saturated with artistic processing and painting of objects and background. Especially representative in this regard are works from the large series of his Moscow period (1970\u201371). Here the artist introduces into the composition not only various objects and materials used by humans, but also scarecrows of ragged birds pecking and tearing at each other (\u201cComposition with Bird and Fabric,\u201d 1970; \u201cEndless Vision,\u201d 1971; \u201cComposition with Chair,\u201d 1971; and others).<\/p>\n\n\n\n

The motif of the world\u2019s fluidity, the fragility and transience of the living body, expressed through twitching life-forms, and the allegory of the scream are reflected later as well\u2014in the 2003 series of abstract expressive paintings (\u201cThe Butterfly\u2019s Scream\u201d). Somewhat beautified and decorative, these works are painted in a tachiste spirit, with broad brushstrokes and paint splashes and drips. This technique is combined with the sharp star-like forms characteristic of Elibekian\u2019s painting. The painter\u2019s upward sweeping of the hand, the recording of the trace of his gesture on the canvas surface, resonates with the fluttering of a butterfly\u2019s wings. \u201cThe Butterfly\u2019s Scream\u201d is the human scream, the artist\u2019s scream. Let us also recall Elibekian\u2019s famous 1980s painting series \u201cScream in Different Registers.\u201d<\/p>\n\n\n\n

In this series of reliefs, works made with fragments of Armenian carpet stand out. Elibekian interprets painful themes of national history in his own way. Employing the postmodern tactic of transforming an original context into another, he expands the ethnocultural symbol of the carpet into a symbol of the tragic history of the Armenian people. An extraordinary work from that series is the 1971 \u201cFlying Carpet,\u201d in which \u201ccomponents that in their original state were passive and static, once drawn into an active painterly environment, acquire new meaning and significance: the carpet, with astonishing lightness, enters spatial environment and breaks away from its base, as if leaving the viewer its living trace\u2026\u201d\u00b9\u2077 In rhythmic succession the signs of the pattern-archetype replace one another. Forming a moving chain, they are associated with the walking of people. The movement of the carpet is the movement of a deported people; it is their fateful movement through time and space\u2026 In the 1983 installation \u201cWindow,\u201d the theme of the Armenian Genocide and deportation is likewise embodied in a generalized, non-narrative, extremely powerful way. The sense of walking, of movement, is present here too. Visually one perceives the silhouette of a man\u2014bent under the weight of burdens\u2014stepping beyond the window into another world\u2026<\/p>\n\n\n\n

A transition from planar relief series to three-dimensional objects is represented by Elibekian\u2019s famous \u201cBoxes\u201d (1970\u201373) and the more voluminous works that preceded them (\u201cThe Walker,\u201d 1971; \u201cComposition with Hanger,\u201d 1971). By the late 1970s and early 1980s, Elibekian\u2019s plastic work changes fundamentally, turning into pure object (\u201cSeated Man,\u201d 1977; \u201cComposition with Suitcase,\u201d 1980; \u201cCello,\u201d 1980; \u201cGas Stove,\u201d 1982) and, somewhat later, into installations. Thus, in Elibekian\u2019s plastic art of the 1970s\u201380s, installations appear\u2014an entirely new form of contemporary art that becomes widespread in Armenian fine art especially in the 1980s\u201390s.<\/p>\n\n\n\n

Installations differ from objects in their multi-part nature, greater synthetism, and the technology of combining different components. If the object, like any single item, is a closed form, then the installation opens outward, forms space, and often includes the viewer as well. The impact of the object is usually brutal, whereas the installation\u2019s code is revealed gradually, sometimes through chains of associations and through visual and linguistic similarities.<\/p>\n\n\n\n

The epigraph to the next section of our article could be Elibekian\u2019s words: \u201cArt is the artist\u2019s self-portrait. A self-portrait is the prediction of one\u2019s own fate.\u201d<\/p>\n\n\n\n

The genre of portrait\u2014especially self-portrait\u2014gains particular spread and significance in Soviet and Armenian fine art of the 1960s\u201370s. The rethinking of the artist\u2019s role in Soviet society also changes the emphases in interpreting his image\u2014from typical, generalized features of the artist as a public figure toward the figure of a person who understands and reflects on his spiritual mission and self-sacrifice.<\/p>\n\n\n\n

In Elibekian\u2019s oeuvre, self-portraits represent an intermediate form between object and installation (\u201cTarget Self-Portrait,\u201d 1975; \u201cSelf-Portrait,\u201d 1978; \u201cSelf-Portrait with Nails,\u201d 1979). In expressing psychological depth, Elibekian goes farther in these self-portraits than traditional psychological portraiture allows. Here too, painterly means are combined with object-allegories introduced into the canvas texture and\u2014especially interesting\u2014with his own photograph. They materialize the artist\u2019s self-perceptions: as if through dissection he opens his inner world, deep subconscious experiences, and dramatically intensifies the emotional field of the image. Objects often indirectly symbolize tragic realities of the author\u2019s life: target (a characteristic element in many of his works), nails, cross, a doll\u2019s torn body, a toilet lid. After Minas Avetisyan\u2019s pensive, introverted and Ruben Adalyan\u2019s heroic-romantic self-portraits\u2014symbols of their time\u2014Elibekian\u2019s plastic and painterly self-portraits brought to Armenian art an unprecedented, at times shocking confession.<\/p>\n\n\n\n

The portrait-installation type, through combining objects and painting, develops further in a series of portraits of famous cultural figures from 1981\u201387 (P. Picasso, D. Shostakovich, F. Dostoevsky, A. Chekhov, Komitas, N. Gogol, W. Shakespeare, Arshile Gorky).<\/p>\n\n\n\n

To be convinced that Elibekian, as one of the best portraitists, is equally powerful in the realm of full sculpture, it suffices to recall the 1975 tuff-stone \u201cPortrait of Mother.\u201d<\/p>\n\n\n\n

By the principle of three-dimensionality, we also attribute to full sculpture the metal and metal-concrete constructions. They differ essentially from works made of more classical materials (tuff, terracotta, or wood). The latter, despite a diversity of planes, are monolithic and complete the figure through a centripetal movement. The form of constructions opens outward; it is more discontinuous and, from different viewpoints, even more varied. Constructions and three-dimensional relief series thrust into the viewer\u2019s imagination with a centrifugal expressive outburst, generating unexpected and diverse associations. In this case, the figure is completed in the viewer\u2019s subconscious, not through a simple direct visual impression, but through a \u201ccollage-like\u201d perception.<\/p>\n\n\n\n

Elibekian\u2019s painting is executed through diverse methods, techniques, and styles. Mastering the technique of classical multilayer painting, he is capable of unpredictable shifts. The fact that Elibekian is presented first and foremost as a painter speaks to his great contribution to the field of contemporary Armenian painting. If we accept the idea of the artist\u2019s contextuality (involvement in a universally regulated artistic process), then unlike his object-based plastic art, his \u201cpresentable\u201d painting\u2014featured in respectable albums, catalogs, and museum exhibitions\u2014is quite contextual within Armenian painting of the 1960s\u201380s. Elibekian\u2019s 1970s painting, already classic with its juicy color-plasticity, is among the brightest pages of modern Armenian painting. However, we wish to focus the reader\u2019s attention on the artist\u2019s early, lesser-known canvases, which\u2014like his early plastic work\u2014immediately provided the conceptual strategy, the core from which later the main styles, the results of his searches and discoveries, would sprout and branch. We refer to the works \u201cCity\u201d (1968), \u201cHouses\u201d (1968\u201371), \u201cBlack Circles in Space\u201d (1969\u201371), and \u201cComposition with an Eye\u201d (1969\u201372). \u201cBlack Circles in Space\u201d is Elibekian\u2019s painterly experiment toward his \u201cpainting + sculpture\u201d plastic system, the condensation of his later important discoveries.<\/p>\n\n\n\n

At first glance the modest, monochrome \u201cCity\u201d is executed in oil and bronze on paper. It is a remarkable work in that it could be attributed to an experienced abstract minimalist imbued with suprematist searches. Close to it is the graphic \u201cGeometric Composition\u201d made a year earlier. Elibekian\u2019s early geometric experiments manifested in these works took a more formed shape in \u201cHouses\u201d\u2026 and were reincarnated in another type of geometry\u2014not strictly analytic but flowing and spreading, where color-light saturation also plays an important role. This foundational work produced the formula of Elibekian\u2019s \u201cgeometry,\u201d best stated by the artist himself: \u201cI am not Mondrian. At the base of my abstractions (both geometric and expressive\u2014L.S.) lie real forms and physiological impulses. My formula is geometry + expression.\u201d The artist refers to two sources, two principles\u2014H. Matisse and P. Picasso\u2014of which \u201cthe first gave color and plasticity,\u201d while the second gave \u201cstructure, power, scrutiny.\u201d Inevitably one recalls the Minas\u2013Kochar type opposition that forms an axis of late 20th-century Armenian art, between which Elibekian\u2019s art rises.<\/p>\n\n\n\n

The type of geometric urban landscape introduced in \u201cHouses\u201d Elibekian develops later, particularly in the 2005 series. That series begins with a relatively small (48\u00d748) \u201cLandscape,\u201d in which the painter returns to his classical manner: meticulous surface work and a juicy, multilayer technique. The canvas seems inspired by a sense of the landscape\u2019s cosmic scope. Along the curved horizon line, the composition concentrates space simultaneously from the front and from above. For the painter, this is a generalized perception of Armenia through landscape. The other works in the series\u2014fragmented into colored cubes and rectangles\u2014are the result of a gradual dissolution of the first (repr. nos. 123, 124).<\/p>\n\n\n\n

If the early compositions \u201cCity\u201d and \u201cHouses,\u201d as noted, produced the formula of Elibekian\u2019s geometric landscape, then the contemporaneous \u201cComposition with an Eye\u201d foretells the expressive style most fully manifested in recent years. The merging and interpenetration of geometric and expressive forms\u2014bringing changes also to the handling of the pictorial surface\u2014is a mysterious process continuing for decades. The pictorial surface becomes increasingly immaterial, spreading across the canvas like clouds, its tremulousness recalling butterfly wings (the series of abstract compositions of 2002 and 2003). Elibekian\u2019s painting of recent years is the crystallization of a bright sacred essence\u2014the reverse side of his own screaming pessimism. It is also the manifestation of precious, purely painterly qualities to which he never betrays.<\/p>\n\n\n\n

Elibekian\u2019s oeuvre is an eternal clash\u2014polar artistic solutions, eruptions of inner combative impulses. Alongside the painter\u2019s deep sense of color comes a constructive principle; alongside poeticism\u2014powerful expression\u2026 \u201cThe Ring\u201d is one of the painter\u2019s monumental formula-works. \u201cThe Ring\u201d is also an allegory of the perpetual companion of the creative human being\u2014the collision of the divine and the existential\u2014presented through the \u201cacting\u201d of colors and forms.
2005<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Lilit Sargsyan In the panorama of contemporary art in Armenia and the post-socialist cultural space, Henri Elibekian is such a well-known and significant artist that today there is already a felt need to present his work within the broader context of contemporary art. In the mid-1950s to the early 1960s, he emerged immediately and indisputably […]<\/p>\n","protected":false},"author":1,"featured_media":7675,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[67],"tags":[],"class_list":["post-8167","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized-en"],"yoast_head":"\nON THE PATH OF DISCOVERIES - Henry Elibekyan<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/henryelibekyan.am\/en\/2025\/09\/11\/%d5%b0%d5%a1%d5%b5%d5%bf%d5%b6%d5%a1%d5%a3%d5%b8%d6%80%d5%ae%d5%b8%d6%82%d5%a9%d5%b5%d5%b8%d6%82%d5%b6%d5%b6%d5%a5%d6%80%d5%ab-%d5%b8%d6%82%d5%b2%d5%ab%d5%b8%d5%be\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ON THE PATH OF DISCOVERIES - Henry Elibekyan\" \/>\n<meta property=\"og:description\" content=\"Lilit Sargsyan In the panorama of contemporary art in Armenia and the post-socialist cultural space, Henri Elibekian is such a well-known and significant artist that today there is already a felt need to present his work within the broader context of contemporary art. 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