Catharsis, painting by Armen Ghazaryan
Golgotha, painting by Armen Ghazaryan
The Raising of Jairus’ Daughter, painting by Armen Ghazaryan
Balance, painting by Armen Ghazaryan
Sunrise II, painting by Armen Ghazaryan
Painter, Sculptor, Production Designer & Artifact Restorer — Yerevan, Armenia

Armen Ghazaryan

Catharsis · 2022

His paintings work in a devotional, almost Byzantine register — gold-ground surfaces, close-cropped hands and gestures carrying the narrative instead of full faces, rendered in a rich, aged palette of ochre, oxblood, and burnished gold that recalls old icon panels and worn fresco.

Ritual and offering recur throughout — bread, wine, censers, reliquaries — handled with a tactile, almost sculptural surface, the eye of a restorer attuned to texture and age. The range extends beyond sacred calm into denser, more symbolic and psychologically charged territory when the subject calls for it.

Beyond this, the practice is wider still — mixed technique, often incorporating gold foil, worked across canvas, wood panel, and graphic works on paper, with subject matter moving freely between spiritual and mystic themes, everyday life, landscapes, and dance.

1980s–PresentActive since
6Disciplines
YerevanBased

The Work

Room I

Paintings

Seven series: Gold and Wood · Sunrises · Faith, Myth and Memory · Flamenco · Eros · Portraits · Graphic Works.

The Magi and the Myrrh-Bearing Women: hands offering a shell, a turquoise sphere and golden vessels against a gold ground
The Magi and the Myrrh-Bearing Women2019 · 89 × 76 cm · wood, oilHands reach out of the gold, offering a shell, a turquoise sphere and golden vessels: the gifts brought to the newborn Christ and the myrrh carried to his tomb.
The Raising of Jairus’ Daughter: Christ, glowing with a halo, reaches towards a girl lying in a white shroud, watched by a woman in yellow and a hooded man
The Raising of Jairus’ Daughter1998 · 34 × 44 cm · canvas, oilIn a dark room, light comes only from Christ and from the shrouded girl he reaches towards, a moment before he says, “Little girl, arise.”
Room II

Sculptures

Twelve bronzes of the zodiac, set around a dial like the hours of a clock, from Aries at one to Pisces at twelve. The hand starts on today’s sign; select any other to bring it to the centre.

Bronze
Room IV — 2001–2006, 2012–2016

Museum — Restoration

Some of the objects he restored had lain in the ground for more than three thousand years. Among them were Late Bronze Age bronzes from the burials at Lchashen, which surfaced when Lake Sevan was lowered in the 1950s. He also worked on gold artifacts, silver book covers and carved wooden doors.

At the History Museum of Armenia he first worked as a restorer and designed exhibition halls, and later returned to head the restoration department. Time wears an object down until it half forgets itself. Under the green of corrosion and the dust of centuries, the old form is never fully lost. In a painter's hands, restoration becomes a way of reminding it what shape it once had.

Bronze bird finial with a golden lattice inlaid on its back, after restoration
Bronze bird finial with a golden lattice inlaid on its back, before restoration

Bird finial · Late Bronze Age

Under the corrosion was a lattice of fine golden lines inlaid across the bird’s back, and golden lines around its head and beak.

Bronze standard top in the shape of an ibex on a ring, after restoration
Bronze standard top in the shape of an ibex on a ring, before restoration

Ibex on a ring · Late Bronze Age

The top of a bronze standard: a wild goat with great curved horns on an open ring. As found it was a lump of earth and pebbles; cleaning gave back the eye, the beard and the collar.

Drag the line across a photograph to see the object before and after restoration.

Armen Ghazaryan beside a large gilded horse head with a turquoise eye
Portrait of Armen Ghazaryan
About

Armen Ghazaryan

A visual artist who has never kept to one field. He paints on wood in oil and gold leaf, casts the signs of the zodiac in bronze, builds the worlds of films, illustrates books, designs furniture and restores objects three thousand years old. Each craft feeds the others: the restorer’s patience with metal and gilding finds its way into the paintings, the painter’s eye shapes the film sets, and the sculptor’s hand turns a wine cabinet into a pair of angels. Whatever passes through his hands — a wooden panel, a piece of bronze, an empty set, a cabinet door — comes away changed, as if it had been waiting for him to find what it was meant to be.

Born in Yerevan on 9 October 1964, he studied at the H. Kojoyan Art School (1975–1980) and at the Kh. Abovyan Pedagogical Institute, in the faculties of painting (1981–1986) and design (1983–1986). In 1986 he joined the Hayfilm studio as a production designer for animation, and in 1989 he made an animated clip for Charles Aznavour’s charity song “Pour Toi Arménie”, written after the December 1988 earthquake. He has been a member of the “Momik” Association since 1991. Film has stayed at the centre of his work ever since, from early animation to some forty films.

From 2001 to 2006 he worked with the History Museum of Armenia as an exhibition designer and restorer, and from 2012 to 2016 he headed its restoration department.

His work has been honoured with two gold medals: the Yerevan Mayor’s Gold Medal in 2016, on the city’s 2798th anniversary, for his achievements in art; and in 2023 the Medal for Contribution to Armenian Fine Arts and Cinema from the Ministry of Education, Science, Culture and Sport, marking the centenary of Armenian cinema.

His paintings and sculptures are held in private collections in many countries. He lives and works in Yerevan.

Armen Ghazaryan in his studio, reaching up to a hanging moon globe, surrounded by shelves of sculptures, skulls, paints and tools, his paintings on wood leaning against the walls
In the studio, Yerevan · Photo: André Smits
Exhibition History
11 awards and honors · 1988–2025

Awards & Honors

  • 2025
    Best Art Direction"Anahit" Film Awards, Armenian National Film Academy — for "The Reverse Side of the Medal" (dir. A. Maxim)
  • 2023
    Medal for Contribution to Armenian Fine Arts & CinemaRA Ministry of Education, Science, Culture & Sport — awarded for the 100th anniversary of Armenian cinema
  • 2021
    Best Artist of Feature Film (Production/Stage Designer)Union of Cinematographers of Armenia — 1st Professional Guild Awards
  • 2020
    Best Art Director (En İyi Sanat Yönetmeni)Antalya Golden Orange Film Festival — for "In the Shadow" (dir. Erdem Tepegöz)
  • 2019
    Best Art DirectionSouth Film and Arts Academy Festival, Chile — for "Lorik" (dir. A. Zlobin)
  • 2019
    Best Art Direction, Feature FilmFICOCC — Five Continents International Film Festival, Venezuela — for "Lorik"
  • 2019
    Best Art Direction4th Canal de Panama International Film Festival — Certificate of Merit for Cinematic Excellence — for "Lorik"
  • 2016
    Gold MedalYerevan Mayor's Award — 2798th anniversary of Yerevan, for achievements in art
  • 2013
    Best Art Director"Hayak" National Film Award — for "Wandering" (dir. A. Harutyunyan)
  • 1989
    First PrizeOpen Animation Festival, Kiev — for "Dream-Teller"
  • 1988
    Best Production DesignerAll-Union Animation Festival, Kiev — for "Rock-Salt"
Room III — Production Design

Movies

A production designer is, in a way, the magician of cinema. Their work begins long before we believe in the world on screen, with an empty room, a bare wall, a street that belongs to the present but must somehow become another decade, another country, another reality. They decide what that world remembers: the color of the walls, the weight of the furniture, the objects left carelessly on a table, the kind of light that enters a room. Nothing is really accidental. Every texture, every distance, every worn corner quietly tells us where we are and who has lived there before the camera arrived. And when the work is done perfectly, we do not notice the designer at all. We simply believe. For two hours, a constructed set becomes a home, the twenty-first century disappears, and a world that never existed feels as though it has always been there. That, perhaps, is the real magic of production design: not creating something beautiful, but creating something convincing enough for us to forget it was created.

Room V

Illustrations

Illustration work for published books.

Room VI

Design

Painted furniture and interiors, where the painting is built into the object itself.

Nephilim — White Wine, Red Wine: two painted wooden doors with wine racks built in, an angel in white on the left and an angel in red on the right
Nephilim — White Wine, Red Wine2019 · wine cabinet · 200 × 200 cm · wood, oil

Inquiries & studio visits

Emailarmen@ghazaryanart.am
StudioYerevan, Armenia