OKLAHOMA CITY, OK — “Art lovers from the region attended and, through my work, many of them discovered Armenia for the first time!” This is how Arman Hambardzumyan described the response he received at his solo exhibition in Oklahoma City not long ago. Billed as “acclaimed artist, ArmanH” by the 1515 Lincoln Gallery, which hosted the event, the exhibition took place October 16-November 29 and was divided into two parts. The main hall was curated by John Wolfe and featured artists from the U.S., Canada, and Europe, whose works were united under the concept of Geometrics. “The second hall was dedicated entirely to my work, where I presented 11 sculptures,” Hambardzumyan — or better, ArmanH, as his American hosts called him — explained in an interview with the Armenian Mirror-Spectator on February 14. “The solo exhibition brought together several thematic directions: my Abstract Love metal sculpture series; bronze works inspired by ancient heroes, including Battle Against the Minotaur and Pharaoh; a series of mixed-media sculptures depicting the female nude; and animalistic sculptures in which I combined metal with native Armenian stones,” he said.
The 1515 Lincoln Gallery offered art lovers a unique chance to look beyond the works into the mind and creative activity of the artist himself. In a talk on October 18, guests were able to participate in an interactive event with Hambardzumyan. While starting from scratch on a new work, the young sculptor talked about himself, sharing the story of his background. Aided by a PowerPoint presentation and slideshow, he illustrated the creative journey he made to become an artist. Born in 1988 amid war and hardship in Armenia, he found refuge in art and determined at an early age to become an artist, fulfilling the unrealized dream of his father. He studied at the Henrik Igityan National Centre of Aesthetics (2000-2005) and received his B.A. and M.A. from Yerevan Pedagogical University (2009, 2011) where he developed a mastery of diverse materials, ranging from bronze to objects he found by chance, creating works that bridge history, myth, and modern life.
He has explored in depth the world of myths, especially those in Homer’s epics The Odyssey and The Iliad and studied the works of German archaeologist Heinrich Schliemann (1822-1890), as well as related artworks. His sculptures depict battle scenes and mythological heroes that originate in episodes of the Homeric texts, but they also evoke reflections on violence in the contemporary world; when war broke out in 2020 in Artsakh (Karabakh), he turned to sculptures inspired by ancient Greece to express his pain and condemnation of war waged against modern Armenia.
The idea of organizing a workshop at the 1515 Lincoln Gallery, he said, came from the gallerist, Susan McCalmont. “It proved to be an excellent initiative, as the workshop allowed for a deeper understanding of my artistic process,” he added. He opened the workshop by saying that his sculptures were fundamentally based on the line, that is, on a linear image: “Through the sketches I created during the workshop, viewers were able to see how three-dimensional forms emerge from graphic structures The process helped them understand how the drawn line is transformed into a sculptural form.”
Local artists attending were particularly intrigued by his technique and the equipment he uses. He recalled that they “expressed appreciation for my ability to work with metal,” in particular.
But their interest was not limited to art. Following his talk, he received many questions about his country and nationality. In response, he presented a brief overview of Armenia’s history — from its ancient kingdoms (Urartian, Ervanduni, Artaxiad, Arsacid, Bagratid and the Cilician Kingdom) to the 20th century, including the First Republic of Armenia, Soviet Armenia, and the Third Republic. “I also spoke about Armenia’s early adoption of Christianity,” he explained, “its distinctive architectural heritage, the ancient tradition of Armenian winemaking, and elements of our national cuisine. In addition, I addressed the tragic events of the 20th and 21st centuries – to show a nation that had not yet fully recovered from the trauma of the 1915 Genocide.”
