 |
The notions
of romance and theatre permeate every canvas that Vakhtang paints.
His style is truly his own, although it is clear to see that he is a
romantic neo-classicist and the influences of history are apparent.
The work is a beautiful blend of style, influence and individuality
and to understand this interpretive blending you must understand a
bit about Armenia. The Armenians had established a Christian state
by the early fourth century, and by the fifth century the Sassanian
Empire of Persia controlled the country. The difference in
theological beliefs and practices between the Ecumenical Council and
the Byzantine faith in Armenia created a rift between much of
Christian Europe and Armenia. However this didn't stop the
progressive growth and strength of the Byzantine faith. In 1071
after the battle of Mantzikert, the Muslim Seljuk Turks captured
Greater Armenia leaving many Armenians fleeing to expatriate regions
elsewhere. The result of this cultural clash, spirit and integration
is the strong stylistic independence between Armenia, the countries
that surround it, and rest of Western Europe. |
|
Vakhtang has
studied the classic Masters of the Renaissance and been strongly
influenced by their content and composition. However the Byzantium
roots and eastern details come through with a careful blending and
subtle intention. The subject of each composition is very narrow in
scope, and often that can be a shortcoming for many artists.
Vakhtang is an exception to this. Like many of the painters of the
Renaissance he has studied, Vakhtang has mastered his subject by his
passion for understanding it. Each canvas a stage with its focus
centered and carefully spot-lit from one direction. The backgrounds
a curtain, often patterned through the use of a mask, which Vakhtang
uses to paint in both positive and negative shapes, creating
elaborate designs. The story is contained in the actors, each masked
or costumed, poised and deliberate. The figures whose garments range
in style between the Sixteenth to Eighteenth century are rendered
with a strong Byzantine style that has been polished over with a
volumetric shading treatment. A true influence of Renaissance
imagery. Each character frozen in space, engaging the viewer with a
direct, unapologetic gaze from their almond eyes. The palette of
color he selects is so distinct that you can tell a Vakhtang piece
by color alone. Strong, vibrant irgazine reds, rich cobalt and
cerulean blues, raw sienna, raw umber and yellow ochre. This narrow
color spectrum that Vakhtang uses brings each stage to life with
such luminescence that you would think them to glow on their own.
Add to this the careful application of gold leaf, often oxidized to
enrich the variety of color it can produce. Paintings built up layer
upon layer in true homage to the masters he studied. Each layer
painted increases the intensity of color and detail, until the final
coats bring about further patterns and motifs that have a
distinctive Eastern feel. In completion, a soft and romantic
composition, subtlety painted with control and affectivity that make
it undeniable in style and individualism.
Matthew Kimmins
Creative
Director, Phoebe Apperson Hearst Museum of Anthropology
University of
California, Berkeley |
