I am Harut Hovsepyan. Born in 1991 in Armenia. Painter, graphic artist and sculptor. Engaged in abstract art, figurative painting and graphics.
Member of the Union of Artists of Armenia.
Finalist:
16th edition of Arte Laguna Prize, Italy
NordArt 2023, Germany
Mediterranean Contemporary Prize, Italy
Larnaca Biennale, Cyprus
Kuryokhin Art Prize
Education:
2003-2008 Art School, Abovyan, Armenia.
2008-2015 State College named after. P. Terlemezyan, Faculty of Painting, Yerevan, Armenia.
2015-2019 Yerevan State Academy of Arts, Faculty of Graphics, Yerevan, Armenia.
Group exhibitions:
2016 Participation in the interuniversity exhibition "Part of the Fire", Yerevan, Armenia.
2017 Participation in the interuniversity exhibition "Part of the Fire", Yerevan, Armenia.
Personal exhibitions:
2018 Personal exhibition “You…” in Art Space Gallery, Yerevan, Armenia.
2019 Solo exhibition in own studio, Yerevan, Armenia.
2022 Solo exhibition "Dream" in Artists Union of Armenia, Yerevan, Armenia.
Exhibitions 2023:
March 12 – April 16, Venice, Italy - Arte Laguna Prize
May 18 – August 30, Moscow, Russia – Solo exhibition “Dream х2” Syntax Gallery
June 3 – October 8, Büdelsdorf, Germany - NordArt 2023
August 5 – August 13, Monteserico Castle, Genzano di Lucania, Italy, Mediterranean Contemporary Prize
October 11 – November 24, Larnaca, Cyprus - Larnaca Biennale
Art Fairs
2022 BLAZAR, young art fair 2022, Moscow Russia
My art is dedicated to the dichotomy of earthly (physical, corporeal) and heavenly (spiritual, unreal).
Taking as a base the classical realistic chiaroscuro drawing and coloristic traditions of the Armenian school of painting (M. Saryan, E. Tatevosian), I have passed through the technique of Divisionism and such movements as Cubism, Impressionism, Post-Impressionism and Fauvism. Being inspired of Paul Cezanne, Albert Marquet, Raoul Dufy, Henri Matisse I found myself in a combination of Armenian coloristic with the ornamentation of ancient Armenian miniature-Horans in the Armenian Gospels of the 6th-9th centuries AD (Kasarakan school of miniature) and tempetto of the Х-th-ХI-th centuries to express the priority of the spiritual over the corporeal.
Just like in ancient Armenian gospels, ornamentation carries almost religious semantic load in my artworks. The character of my painting depicting sleeping people shows it clearly: there're the large decorative and colorful arrays where the folds of fabrics are marked just by a change in line direction or with a visual break in the pattern, not by shading. It makes the images flat and unreal, following the standards of Byzantine icon painting which prohibited the depiction of "corporeality".
This becomes the "light of another world“ l which I let to "sleep" into the real world. The theme of sleep itself enhances the feeling of unreality here. In essence these paintings turn to become dreams themselves - a transition into another - spiritual extent. Dreams are as theological as icons: in both cases time becomes transcendent: "instantaneous" or inverted, as stated by the priest and scientist Pavel Florensky in his research "Iconostasis". Linguistics confirms it: in many languages a shape of a sleeper and an illusion are being titled by the same one word – a "dream“.
I intended to "program" light and goodness for refugee children, whom I provided shelter for along with their families from Artsakh (a disputed territory in Armenia occupied by Azerbaijan) in my art studio. While engaging in drawing activities with these children, I discovered that children do not have idea about past or future but only about the present ("instantaneous," "iconic" time, according to P. Florensky). This implies children’s are closer to the spiritual world which explains the brightness of colors in their drawings.
I identify the "Color as light" and those I follow the steps of the French Impressionists who divided light into the colors of the spectrum, as well theory by Kazimir Malevich, who proclaimed color as light.
