Technique without creativity is meaningless. Aram had a chance to find his own way and nobody ever imposed it on him. Let me note that it is rather hard to impose something on people like Aram (the fact that the family originates from Igdir is probably responsible for that). In short, talent and ability are given to a person at birth, but knowledge and experience are up to him to acquire.
When I first saw Aram's work, he was twelve. I remember being surprised by his passion for Van Gogh, as such passion usually comes at an older age. Then, due to various reasons, I did not hear of Aram for quite a while. Many years later, at an art exhibition I paid attention to a still-life that struck the eye by its "oddity." Surrounded by "typically Armenian", lavish canvases, it looked very unconventional: reserved colors, meticulously drawn details. To my astonishment, the author was Aram Issabekian.
Not so long ago Armenian painting was divided into two distinct styles: "Saryanism" and socialistic realism. The former was often very far from the depth and the power of the great painter, and the latter followed the Soviet standard, sometimes adding national flavoring to it. The rare bright individuals were treated as mavericks and never fitted into the few existing niches. There was an atmosphere of illusory accord and unanimity with a fixed set of titles and awards for the most loyal... And then, suddenly, the enormous empire collapsed and fell into many big and small "independent" territories. The world of artists and scientists, who had been used to a certain degree of stability, turned immensely tiny and insecure overnight, regardless of their abilities. In the chaos that followed, the energy of the young broke free and entailed unforeseen consequences. Unrestricted freedom led to disorder and anarchy, a development that is almost unavoidable after all social upheavals. We had to survive it...
Late in 1998, the Museum of Modern Art, opened an exhibition of 46 painters, with a symbolic title: "On the Threshold of the 21st Century." The exposition was as significant as the opening of the Museum in 1972. The wide range of authors and their works demonstrated again the talent of Armenian artists. It also bridged all poles and demonstrated that antagonism and militant intolerance are pointless. The only criterion was quality. The public appreciated the portraits and still-lives by Aram Issabekian. The work of an artist is the cardiogram of his life - it shows his mood, state of mind, degree of sincerity. I prefer Aram's works that are closer to nature: his portraits and still-lives. There is more love and concentration, and therefore, artistic tact and quality, in them. His best portraits are those of his friends, colleagues and family.
To know somebody it is best to take a look at his environment. There is nothing superfluous or luxurious or exotic in Aram's studio. There is no bohemian mess, carefully preserved for the visitors and reporters. You find yourself in a neat, clean - but not sterile - space with his favorite books, albums and records. It is an environment of an intelligent person.
The still-lives that Aram paints every now and then never depict traditionally flamboyant fruit-and-vegetable compositions or voluminous bouquets. They are truly ascetic and reserved in the choice of the objects. Aram's still-lives are most often made up from "pieces" of memories: bottles, simple pots, shells, clocks - all that is kept somewhere in the depth of memory and then suddenly retrieved to the surface, bringing about sweet pain and nostalgia. Perhaps, Aram would find it strange, but I feel a lot of nostalgia in his still-lives. The usual objects, brought from various, even very short trips, are apt to revive memories, or - to be more correct - to restore them. I remember that, as a student of the Academy of Arts, I went to Italy and upon my return I realized that nostalgia is a broader notion than I used to think. It does not apply exclusively to one's homeland. Man is sometimes weary of his environment, of too much attention, and even of himself. It is just that very few have the courage to confess it... However, if you are never weary of the essence of life you will never lose the ground under your feet.
It is difficult to really know a person, if you are just acquaintances. Though a very open person, Aram, like many other artists, has a mask that helps him protect himself from the curious. At a distance, he looks quite respectable and successful - a son of famous parents, handsome, talented and lucky. He has made a good career: a Pro-rector, then Professor and, finally, the Rector of a prestigious art school. He can boast of an impressive number of exhibitions, including personal ones. All this is correct, but it is just the' upper part of the iceberg. The luck of the handsome "go-getter" is based on hard work and persistence. Besides, there has been enough trouble and misfortune in his life - it would suffice to mention two serious cases of fire. Was it a coincidence? Envy is not among the noblest qualities of mankind and, unfortunately, it has not diminished with the progress of civilization. Aram was not embittered by all that had happened to him, but it took him a lot of creative force, energy, days and nights to overcome the crisis. The courage and romantic spirit that comes down from His father and the kindness inherited from the mother helped him out. That mixture, combined with will power, as well as irony and kind humor, has always attracted people to him.
Aram Issabekian's interests are very wide. The frequent trips to Paris and Venice, close acquaintance with the richest museums and galleries and meetings with fellow artists exerted their influence on Aram's worldview. New places and impressions led to the creation of a series called Dreams. Another series, Venetian Masks, reproduces the wonderful city and its traditional masquerades.
In search of his style, Aram resorts more and more to his famous genres, still-life and portrait. Thus, the Letter from America is a short story told by means of a still-life. By its completeness it belongs to a forgotten and unpopular style of painting. Armenian artists equate completeness to academic anachronism. When socialist realism was no longer imposed on all painters, every body turned to a loose "free" technique. This was understand able and fruifful for a while, but later it became the only recognized style in Armenian painting. The way in which one of the "dissident" techniques became the "ruling" one and suppressed all the others is ridiculous indeed.
Aram Issabekian has often painted his daughter. She is his favorite model, and one can follow how he sees her grow and creates a marvelous portrait gallery of charming Anna. Aram's another success is the portrait of his father, Edward Issabekian. First of all, it is an exam passed before the most demanding teacher and judge. Secondly, that portrait refutes the theory that photography has killed the genre of portrait. Technology would never be able to replace human skill and vision, it would never be able to reproduce the soul. The wise old man is frankly posing, but at the same time one has the impression that he is engulfed in his own world, in his memories. Aram Issabekian has created an honest artistic document, without idealizing or making a hero of his father. We see a handsome manly Armenian who is full of vital energy and confidence. The portrait shows the artistic tact, sincerity, honesty and skill of the author.
After seeing that portrait I had the desire to appeal to our artists to paint their fathers. Such an exposition could be an interesting phenomenon, and experiment and, at the same time, a test of truthfulness.
An artist involved in administrative work has to sacrifice a lot, and the most precious of those sacrifices is time. Like many of his colieagues, Aram Issabekian could have engaged exclusively in teaching, but he has to search for resources, build, renovate and repair. This is what heading an Institute is mainly about in these hard times. It would have been unjust to omit this side of his activity. Only serious concern, devotion to the cause, gratitude to the past and responsibility before the future could have led him to become a Pro-Rector, and then a Rector at the time of unprecedented recession. Only those who chose to stay, having a chance to immigrate to more developed and comfortable countries may best appreciate this deed. Aram Issabekian did not only head a hopelessly poor institution, but engaged in its reconstruction, introduced new approaches and methods, created the necessary laboratories, an exhibition hall, an Institute museum, and, with the help of the Mekhitarists, established ties with the Venetian Academy of Arts.
Nowadays, only a few can achieve that much. Those are most honest, concentrated, strong, responsible and selfless people, who have s truly broad vision. Aram Isssbekian is one of them.
Henrik Igitian
Director of
the Museum
Modem Art
of Armenis
"... You don
't need any advice from me.
You are already a mature, gifted artist. And these are wonderful paintings. The portraits are especially good. You shall have great success... " Garzou
|
In Garzou's studio, Paris, 1995 |
Aram Issabekian
is a very demanding person, who is never satisfied with the level he has
achieved. He has always been loyal to his nature, and fashionable trends
in art could never tempt him. Aram Issabekian is a proponent of eternal
values in art and fine goldsmith of its precious chain. Aram Issabekian
is my beloved friend, but we are very different in our artistic forms
of expression. However, we both strive for perfection, each striding his
own hard, but noble path in painting.
Varouzhan Vardanian
|
Varouzhan Vardanian and Aram Issabekian |
Edward Issabekian with Aram, 1955 |
Edward, Mher and Aram Issabekians - three generations |
With Catholicos of All Armenians Karekin I at the opening of the exhibition, Aleppo, 1991 |
Left to right: Rector of Venice Art Academy Antonio Tonatio, Aram Issabekian, Father Haroutiun Pztikian: Venice, Mourad Rafaelian college |
Participants of the Exhibition of 13 |