10 Questions with Margaret Asatrian

Margaret Asatrian is an Armenian visual artist born in 1994 in Yerevan. As the daughter of a painter, she grew up in a creative environment and started to paint from a very young age, which, in turn, greatly influenced her own career choice. From 2012 to 2016, she studied at the Yerevan State Academy of Fine Arts, obtaining a BA in painting. Having completed her academic formation, the artist has since devoted herself to a full-time artistic practice, experimenting with various mediums and searching for new ways of self-expression.

Although Margaret’s early artworks consisted mainly of figurative compositions, still lifes, and landscapes, she soon revealed a fascination with abstract style, which, according to her, allowed her to express her emotions more freely. In quest of her artistic language, Margaret realizes a large number of small-size, mixed-media artworks on paper, exploring diverse color combinations and compositional structures. These pieces serve not only as a basis for large-scale oil paintings but also represent completed artworks in their own manner.

Margaret’s art reflects her inner world and vision of life. Through abstract forms, lines, and colors, she conveys her feelings and impressions from the surrounding world, inviting the viewer to share her life journey.

Over the past years, Margaret’s art has gained the attention of distinguished art collectors and connoisseurs both nationally and internationally. Her artworks have been showcased at notable art biennales and international exhibitions worldwide which include the 5th Edition of the London Art Biennale (2021), the 9th Beijing Art Biennale (2022), the International Group Exhibition (2021, Madrid), Contemporary Paris Art Fair (2021), Armenian Contemporary Art in Kuwait (2019), Yerevan Art Expo (2018,2019) and many more. In 2021, Asatrian’s painting “Reflections’’ was donated to the Museum of Alex and Marie Manoogian in Michigan, which houses the largest collection of Armenian art in North America. In 2022, Margaret’s artworks were published in the 65 Degree Magazine’s Winter Issue, a luxury magazine based in Carmel-by-the-Sea. She also became one of the five finalists to get featured in Art Market Magazine’s 91st edition, a major international magazine with global distribution collaborating with important art fairs and biennales such as Miami Spectrum, World Art Dubai, Florence Art Biennale, ArtExpo New York, ArtExpo Las Vegas, etc.

Margaret’s artworks are on permanent display at Gallery Milmar International, a reputable art gallery featuring well-known Armenian and International contemporary artists, with locations on Parc Avenue in New York, as well as in Caramel-by-the-Sea, CA.
The artist’s paintings are also represented by the Gala Art Gallery in her hometown of Yerevan, a leading Armenian gallery where Margaret had her first solo show in April 2023.
Margaret Asatrian has been a member of the Artists’ Union of Armenia since 2017.

margaretasatrian.com | @margaretasatrian

ARTIST STATEMENT

Margaret Asatrian's art is the reflection of her inner world and vision of life. Her pieces express her identity and help to communicate her feelings with the utmost freedom and sincerity. Throughout the creative process, the artist liberates herself from every spiritual restraint, and trusting her intuition unreservedly transmits to the canvas her innermost feelings and impressions received from the surrounding world.

Although Margaret's early artworks consisted mainly of realistic compositions, landscapes, and still lifes, she soon revealed an interest in abstraction. According to her, the transition of her style from realism to abstraction has come about naturally, as if something inevitable only required time to undergo all stages of maturity before its final development.

Employing colors, forms, and lines the artist shares her thoughts, memories, and emotions, entering, thus into communication with the viewer.

Starting every new piece with spontaneous brushstrokes, and covering the canvas with few dominant colors, the artist focuses afterward on the compositional structure and the harmonious arrangement of the forms. The interplay of soft, pale colors with rich ones, endows her pieces with a lyrical, serene ambiance contrasted with vibrancy and dynamism.

"Dream'', ''Interlude'', ''Hope'', "Daylight'', ''Sunrise''...the title always comes once the painting is finished. The artist examines it and chooses a name according to associations evoked within her at first sight.

Margaret believes that, apart from mastery and talent, every artist must demonstrate absolute honesty in their artistic endeavors, staying true to themselves and following their insight.

INTERVIEW

First of all, can you tell us a bit about your background in art? How did growing up as the daughter of an artist influence your own artistic journey?

As the daughter of an artist, I was born in a creative environment and obviously, art has always been a central part of my life. As a child, I remember myself standing by my father's easel watching him with fascination as he blended colors and masterfully brought familiar objects and figures to life. The whole process was a pure wonder to my eyes. I saw him as a magician in those moments.
My inborn love for art has undoubtedly been nurtured by my early life's impressions. I have, however, never felt any pressure from my father's side to follow in his footsteps. My parents respected my freedom of choice and personal preferences. They wanted to make sure that I pursued an art career of my own free will rather than feeling obliged to carry on the family tradition.
My father has never interfered with my creative process but instead has shared his advice with the utmost delicacy and non-obtrusively, respecting my ways of expression and artistic feelings. Among the most valuable lessons he has taught me is the importance of hard work, perseverance, and staying true to myself, as in an artist's life setbacks and difficulties go side by side with success.
I feel more mature and independent today than I did a few years ago. Never taking for granted the connections and professional guidance I received from my father, I strive, however, to pave my path and find new collaborations and opportunities in the art world.

What drew you to pursue painting as your primary medium of expression? And why did you choose this medium specifically?

Since a young age, I've had a strong desire to create something with my own hands, to reinvent reality by transforming my habitual environment. I needed a parallel reality, a continuation, and a life beyond what was visible. Along with painting, I loved playing characters and even considered becoming a producer or an actress. Then, at one point, I thought about becoming a musician like my sister. These were, however, only hobbies. As for the painting, curiously, it was never just a hobby for me. I was impatient in finishing my homework so I could spend the rest of the evening drawing. It brought me immense joy and was always my top priority. Becoming an artist was not a conscious decision, I guess; it just happened. I knew it was inevitable, and no matter what I was interested in during different periods of life, I would finally return to painting. In simple words, I just loved painting more than anything else and felt it was the thing I could do best. I believe that art is not just a profession but a lifestyle, an outlook, something that is or isn't born with you. If you have an artist inside of you, it will reveal itself in due time and under the right circumstances.

Could you describe your artistic style and the themes you explore in your abstract compositions?

Honestly, I have never been much concerned about finding a specific painting method. Instead, I prefer to let my style mature and establish itself naturally. The most important thing to me is to express myself genuinely, follow my intuition, and trust the process. Initially, my style was close to Impressionism but gradually evolved into abstract expressionism. The transition has come about spontaneously. I felt that realistic representation of objects and environment ceased to appeal to me; I wanted something beyond it, a world of totally different emotions, ambiance, structure, perceptions, and unusual color combinations. Abstraction allowed me to recognize myself better, express my retained feelings, and create a new universe with a new order. The titles of my paintings always come later, when the painting is finished, according to the associations they evoke within me. I paint everything, from the emotional to the physical world—the whole life, with all its forms. Abstraction gives unlimited possibilities for that.

How do you typically begin a new piece of artwork? What does your creative process look like from start to finish?

I usually begin every new piece with two or three primary colors, covering the canvas with broad brushstrokes. Yellow and blue are the colors I use most, referring to them almost instinctively. The first layer is always applied in liquid paint, giving allusion to the watercolor technique, and afterward, come free-flowing lines to give the painting its future compositional structure and to free it from its initial amorphous state. From this point on, the painting itself guides me towards the next step, indicating where I should increase contrasts, for example, add or remove forms to balance the composition. The second stage of the work requires more concentration, as I already have a base and see the outline of the future painting. While the first layers are applied with a brush, during the second phase, I use mainly a palette knife for the impasto technique. The final stage is meditation and order. I remove random, unnecessary details, harmonize the forms and rhythms, and, most importantly, ensure the piece possesses some inner energy and magnetism, making it unique.

Where do you draw inspiration from for your artwork? Are there any particular sources or experiences that consistently influence your work?

I believe my biggest inspiration is my love for painting and art in general. The very act of painting inspires me. The realization that I have the power to create something meaningful and share it with others is undoubtedly a great responsibility and driving force for me. Life itself, with all its facets, serves as a source of inspiration to me. I don't need to be in a good mood to work; in fact, some of my best pieces have been created in moments of intense anxiety or sadness. The most important thing for me is to be genuine in my expression.

How do you approach color, form, and composition in your paintings? Are there any specific techniques or methods you often use?

Color is, for sure, the crucial aspect of my work. Even if the compositional structure of the piece is perfect, if the coloring is not impressive enough, it will never satisfy me. I will rework it until achieving a truly beautiful and harmonious color combination. I usually apply around three or four colors in each piece or even less. Sometimes, I use only one color with its various shades, and by contrasting them with white, I achieve an interesting coloring. Another crucial component is form. The color-form relationship is an extremely hard phenomenon to achieve and requires years of practice to master. If it lacks harmony, the whole composition will collapse. To create a sense of motion in my paintings, I strive to balance large forms with small ones. However, achieving this effect is impossible without the right color scheme that complements the forms. Without the right color balance, the painting can appear static and monochromatic. To avoid this, I usually combine bright colors like yellow, orange, and blue with deeper, more muted tones. This helps to create a sense of vibrancy and clarity in the piece.

Let's talk about your color palette. You use muted and primary colors. How do you choose them, and what do they represent for you?

I have mentioned that color is the most important aspect of my work, so I try to achieve as impressive and harmonious color combinations as possible. By counterposing primary and muted colors, for example, I strive to create at the same time lyrical and vibrant atmosphere. The colors of equal intensity would make the piece appear monotone and dull, whereas the right balance will undoubtedly enrich and diversify the whole composition.
I am very fond of smooth, pastel shades such as pale pink, blue, lilac, warm grey, etc. They evoke a sense of poetic melancholy and serenity. However, these colors would not stand out without rich contrasts by their side. That's why I usually prefer combining muted hues with bright yellow, for example, or indigo blue.

You have exhibited extensively and internationally and have already participated in important international events. What do you think of the art community, and how did you find your place there?

The last few years have been incredibly productive for my artistic career, indeed. I have had the opportunity to participate in major international art events worldwide, such as the London Art Biennale, the Beijing Art Biennale, the Paris Art Fair, the Contemporary Group Exhibition in Madrid, and more. Additionally, I have engaged in important collaborations with both national and international art curators and dealers. Considering how hard it is for young artists to get exposure and establish themselves in the global art community, I feel extremely fortunate and grateful for these experiences. With thousands of talented artists worldwide, the competition is tough. If you wish to gain success in the art world, you need to be flexible and seize every opportunity that comes your way, and what is crucial is to stay true to your vision, as authenticity is the key to success.

Could you talk about any current or upcoming projects you're working on? What themes or ideas are you exploring in these new works?

Currently, I am redoing one of my old, large pieces I wasn't satisfied with. I believe it has the potential to become a better piece, so without much hesitation, I changed its overall coloring while keeping the fragments I liked intact. Although I am not certain how it will look in the end, the piece has a unique charm that I hope to preserve. The liquid paint applied excessively over the dry layers creates a faded and foggy atmosphere, which, along with partially shielded contrasting details, produces a mysterious, dreamlike ambiance. Unlike my recent pieces, which are rich in color and have well-defined forms, this one is quite different in its complex technique and minimalistic style.

Looking ahead, what are your goals or aspirations as an artist? Are there any new directions or mediums you're interested in exploring in the future?

My goal is to continue naturally developing my current style. Abstraction provides endless opportunities for self-expression, making it an ongoing journey. I am in constant search of various technical methods and color combinations. In addition to my oil paintings, I also create numerous small, mixed-media studies, which serve as a base for my large pieces. To achieve maturity in artistic expression, hard work, and dedication are essential.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.