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DARON MOURADIAN
In the ocean of Armenian art Daron Mouradian is, no doubt, a lonely island. He is not to be compared with anyone. It is difficult to reveal his sources, his roots. They surely exist, but they stretch in a different direction, beyond the national. His art as a whole does not fall under any generally accepted ism he is his own ism. There were two stages in his molding as a qualified artist. At first he dreamed of becoming a sculptor but was admitted only to the department of design of Yerevan Art College. One can only guess what he was taught there, as there was not much to design in the Soviet country. His second road brought him to Yerevan Academy of Fine Arts, this time to the department of graphical art and book design. He didnt care much for this profession: the boundaries of the page and the space of the book limited his desires and made him ill at case. His imagination rushed him to European historical costumes and old weapons. Museums were his insatiable passion and inspiration source. Studying graphical art and book design at the Academy of Fine Arts he paralleled sculpted. His sense of form and dimension start from here? And not only this, he is a master of drawing. It is clear to everybody. He couldnt bypass painting and hardly wanted to. He was enthralled by portraiture and started painting imaginary hero-adventures of Don Quixote type. In the Academy he developed a taste for oils. It was all like this but it wasnt everything so far. The main place where he was forming as an artist and as individuality was his family. Darons father, an alumnus of the same Academy, worked in the sphere of souvenir industry an d often traveled about the country taking his son with him. Visiting museums was frequented by famous painters, father often took his son to their studios and Daron has imbibed the rich Bohemian atmosphere since his childhood. He absorbed everything with joy and love. This was how the island in the ocean was formed. His studies were completed with a diploma devoted to ancient Armenian Gods a rare case, as such themes were not generally approved in atheistic Soviet Country. Thus Daron set out on a free voyage. He started with classical painting. For a short time he was fascinated with general crush on abstract art, but soon its spell was gone, he realized it was not for him. Since then he has thought that the most interesting thing for him is a search for the new in the old art, in ancient forgotten images.
He is also inspired by history Herodotus is particular, the first historian and geographer of Western civilization, whose works are not devoid of certain craftiness. Daron says it surprises him how often historical personalities declared with pride: killed, took captive, rose to the ground. These boastful fragments of the past embarked him on an ironical comprehension of history. The paintings that Daron has been created for the last fifteen years are the conscious and subconscious reflections of the times long gone or maybe even of the far future, certainly, in his own interpretation. Each of his painting is the result of his meditations, quite inconspicuous for his surroundings. Daron does not declare anything, does not write manifestos and does not brandish flags or slogans. He concentrates all his aesthetic, intellectual and life experience on the tip of his pencil or brush. The white canvas suddenly becomes the media through which everything is animated. No sketches, only some light drawings. The thoughts are materialized slowly, thoroughly and almost without any cardinal alterations. This is how the magic of Daron Mouradian begins. First the main personality invented as a rule is painted. He becomes the epicenter of the picture. He gets gradually surrounded with parts of mechanism, objects of everyday life, weapons, flowers, fruit and exotic animal. He places his personalities on the mechanisms invented by himself, wonderful combinations of airplanes and first automobiles, locomotives and James Watts engines. He does not leave alone even a poor rhinoceros, adding a wheel to perhaps for a greater speed maneuverability. Daron created a host of amazing personalities dressed up as Knights and Corsairs, Generals and Sovereigns, Clowns and Cantinieres. They are frightful and likeable at the same time, resolute and funny in a rage and ready for everything. But all this is only outward appearance of extreme energy and actions not directed at anything. Movement without movement, A paper ship splashing in a puddle or a tub, A battle horse that has turned into a merry-go-round, A women-centaur who will not gallop far, not more mobile is the terrible artillery created by Daron. And even the bravura music played by the scattered instruments in his paintings cant move forward his heroes.
Mystification? Certainly, but a warning too! Dont funny things often turn into tragedy in history? The painter fully relies on the imaginations of an intelligent observer, which is why he often doesnt entitle his pictures not to force on them his way of thinking. I dont want to turn my paintings into literature, he says. Nevertheless, any of his pictures can become a European fairy tale: Swift, Hauf, Hoffman, Duadet, Raspe the names can be continued
Daron is a master of riddles, allusions, intrigues. His works are smart cryptogram for a intelligent observer. A little rodent with wings sitting on a monarchs hat isnt it an allusion to the King of the Mice? The crew of the ship are blowing up their sail but they wont get anywhere on such a perpetuum mobile. Another of his favorite heroes with a fez on his head reminds of Darons painting even if the author doesnt want it is a delight as fascinating as admiring his art. He thinks there is not any particular symbolism in his paintings. Then what are all those fishes on the skewer, dragons, knights, a tandem and all the in habitants of Darons planet?
In his art he is not only a masterly drawer, but a subtle painter this doesnt require any comment. Every piece of his scrupulous painting is as amazing as his main devotion to museum art. It is extremely uncommon in the time of mass enthusiasm for innovations. But Daron has his own way chosen once and if not forever, at least for a long time. His art has another facet as well. He is director and decorator of his own theatre. Here, as well as in painting he knows no boundaries. None of his pictures is literature; it is a local scenic act a muse in scene. He is a matchless scenographer and sooner or later will be claimed by the theatre. Only few art directors can dress their actors so artistically, so elegantly, so fancifully. Daron quite freely manipulates with fabric, dimensions, and silhouette, with invisible scissors, pins and needles. He enjoys painting silk, taffeta, brocade, satin, and the viewer enjoys it too. It is haute couture, shortly speaking. Because of all this is theatrical art acquires the features of a performance at a fair, of buffoonery, of a farce. Like a real magician he makes his actors stop short and takes up his brush. Darons imaginary defile can take place on any stage it wont be boring. Grotesque is interesting always and everywhere both on the canvas and in a real life. Daron Mouradias art can also be defined as Rabelaisian so tangible, so juicy and tasty it is, so filled with emotions and passions, irony and humour. His version of history is pulsating with life, it breathes and it is becoming a myth right before your eyes.
Nearly all of Darons paintings are created to the music he is a music-lover and his predilections are not less surprising than his paintings: jazz, folk-jazz in particular, Oriental melodies, Armenian composer Aram Khachaturian. They blend together with the love towards Soutine, Velasquez, small Dutch Painters, Vermeer, Van Eyck. It does not mean that if you have a little of everything you get as much as Daron does. No. It is feasible only for him, an Armenian who makes European paintings with a slight, imperceptible oriental aroma. His studio is haunted by Herodotus, Camus, Flaubert. It is always full of music and cigar smoke and amid all this is a Armenian painter Daron Mouradian, whose art is beyond real time and reflects his kindly soul. That is why his work is interesting for the spectator of our stormy and often illogical time.
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