Stylistic movement of the Armenian painting is broad and against its
background the painting and plastic composition worked out by Karen Aghamyan stands out with its expressiveness. The creative
activity of the artist embraces also engineer-designing projecting. This fact sometimes directs us to a true way of
interpreting the canvases of the artist, it helps the viewer to penetrate into his individual style, explicate the choice of
manner and handwriting upon interpreting this or that motive. Yet the artist's digression to the world of scientific and
intellectual reality, which has not been aesthetically assimilated, is obvious. Aghamyan's works are not traditional
- they are reserved, even hermetic. The artist searches observes, meditates in different, quite unusual system of
expressiveness. In main the world becomes the object of his emphasized analytic attention. It is no mere chance but the
consequence of his program. His personages at times resemble mannequins for being artificial and in some unreal plot they
bear our present, appraised within life with its aspirations and struggle and it inevitably leaves an imprint on the feelings
of the contemporary people, distinguishing them from the previous generation. His personages escape from contacts or
intimacy. What is it? Is it the ideal of the analyst-technocrat to imprint elusive transformation of a breathing body to
a soulless one, or to remind bout the world where acts the force indifferent to individual existence. The artist tries to
feel the approach of inconceivable future and exhibits contact / but also conflict / of a man with the reality, which
ties him with threads, literally bares nerves, makes him plunge into a situation of interaction of intellectual and emotional
character. And the viewer follows this path, searches his key to the conception of Aghamyan's works and finds in such
poetics by virtue of which the artist wants to exhibit a special type of contact of a man with such environment, world, space
nowadays possessing undoubtedly different meaning and content and they are able to demolish the stereotype of habitual
senses. The artist offers his version of world with its completeness and different color of air, sky and water. There is
much in these works that give background to speak about symbolism and abstract romanticism of his painting, expressed under a
new light of emotional experience of space. It blazes in the reflection of distant flame or dwindles ashy. Such presenting
changes in the main the process of perception and the author's reluctance to penetrate into the private destiny of his
personages in habitual ways, becomes clear. It removes the impression of mysterious mannequins of the personages arising at
first sight. They get the supple of inward energy owing to the interaction with this space. The capacity of these fantastic
distances, released from time, from nice or foul weather is so enormous that urging there heroes, upon all their real
completeness and necessity suddenly find virtue to be dissolved in these mysterious breathing spaces. This device disperses
the imaginary impassivity of his works. The objects and things in his compositions are painted gracefully, coolly. They
take away from us the warm cosines of previous days. This process of renovating the world is connected with the loss and
obtaining new valuables, demanding new artistic interpretations. In his last compositions includes fragments from medieval
miniatures as if reminding about the time thrown into flame and miraculously survived parchments. — They are like
fearless heralds as reliable orientations and supports in our wanderings and flinging...
