This afternoon I visited the artist Mher Khachatryan, at his Art Factory studio This is where he produces his signature "smoke paintings," oftentimes mural-sized works that include hidden figures within veils of white and gray smoke. When I asked Mher about the significance of the smoke, he talked about its symbolism of impermanence, of life and death: "Smoke can harm you if inhaled, and it can also mesmerize."
What interested me about the paintings was the process. There is the spray painting of the black surfaces (all stretched canvas), and the additive process of the white paint, which seems to almost be airbrushed. But these thin veils of white are applied with a brush, mostly a flat brush that is alternately turned to produce lines of varying thicknesses. In the case of diffuse areas, Mher takes a rag and rubs the paint into the surface. Also, there is the black and white palette, which harmonizes the composition. Space and form are treated transparently, in keeping with the smoke engendering them.
The hidden figures in the paintings are often stylized female forms, but the paintings I most responded to depict idiosyncratic figures with varying degrees of finish. In the monumental work "9/11," several figures worked from source photos find their way into the image. They are real faces struggling to exist inside the transitory pillars of smoke. I found this struggle compelling. Both art and life involve struggle, its it the energy of each endeavor, and this image has it.
Mher Khachatryan, a native of Armenia, discovered his passion for drawing at an early age, thanks to the support of his mother. By the time he was ten years old, he was already enrolled in an intensive after-school art program, which went beyond typical arts and crafts activities. With classes meeting for an hour and a half each day, Mher's dedication to art only grew stronger. At the age of 14, he pursued further art education by attending an art college, and later spent three years at the Academy of Fine Arts in Armenia to complete his formal training.
In 2000, at the age of 19, Mher made the brave decision to immigrate to the United States, specifically Panama City, Florida. As a young immigrant, he faced the challenges of finding steady employment to pay his rent and learn English. Without any family in the country, Mher worked various jobs, ranging from restaurant worker to sales representative and manager, in order to support his art practice. Despite his young age, his unwavering commitment to his art fueled his determination to succeed as an artist.
During his journey, Mher found himself moving around frequently in search of opportunities that would further his artistic career. It was during this time that he discovered Kansas City, Missouri, and secured his first professional art space at the city's Arts Incubator. The open studio events held every Friday provided Mher with a platform to showcase his work. Eventually, a friend living in New Jersey convinced him to move to The Art Factory Coworking Space in Paterson, NJ. The allure of the close proximity to New York City, a hub for artists throughout the twentieth century, drew Mher to this new location.
Mher's artistic journey, intertwined with his immigrant experience, reflects themes of impermanence and transience. His artwork captures the fleeting beauty of life and explores the fragility of existence. In his unique interpretation of Leonardo's "The Last Supper" merged with Michelangelo's "Creation of Adam," Mher delves into the profound symbolism of Christianity. Through his innovative use of smoke, he brings together these iconic Renaissance images, creating a captivating exchange of cause and effect. It is truly fascinating to witness how Mher has transformed this fundamental story and the works of two artistic giants into ethereal smoke paintings.
Don't miss the opportunity to visit Mher's studio during the upcoming ART WALK 2018.
When I think of Mher's paintings and his artist's and immigrant's journey, I think of the words "impermanence" and "transience." There is an impermanence to the smoke, and the transience of his subject matter, which seems to revolve around beauty on the one hand (a transitory state) and the fragility of life itself. In his interpretation of Leonard's "The Last Supper" melded with Michelangelo's "Creation of Adam," there is also a tie to the deepest images of Christianity.
This other monumental work tells the story of the betrayal of Christ by resting Leonardo's image on top and moving Michelangelo's up from the bottom of the frame. Where the two meet, an exchange of cause and effect occurs, where Judas's money-grabbing directly feeds the crucifixion.
The artist's ability to transform this fundamental story and merge the works of two Renaissance giants into ethereal smoke is truly captivating. Witnessing the interaction and exchange of cause and effect in Mher's paintings is a fascinating experience. Don't miss the opportunity to see his next Solo Exhibit at TheArtFactory in March.