The war child When I saw an explosion of army ammunition near a war zone, I became extremely engaged in colour development. These ammunition explosions were equally breathtaking and frightening since they were so colourful, loud, bright, and close. I was unable to articulate my feelings. I know that they fascinated me at the time. Incredibly surreal colours were formed by explosions. My work is attempting to re-enact what I had witnessed that day. I have a strange connection to colour and have always been fascinated by what materials can become. Creating sculptures was a meditative activity that helped me feel better emotionally. I developed my methods for overcoming fears, and the things I used evolved into psychological tools rather than simply being things. To preserve that memory, I wanted to hold onto a small fragment of that experience, such as a trophy or a visual picture. I started to use heavy materials and photographs to examine the relationship between objects and the memories that bind them because I believe that colour is heavy material. Everyday household items serve as a reminder of the past. My art functions as a diary of memories that were neglected or forgotten. By altering photographs, I hope to preserve past memories and find more information from past events. To fully comprehend suffering, one must experience it. War has given me a voice that I can convey through my art. I see colours in a variety of shapes and forms; they each have a distinct energy, aura, and sound about them. I'm constantly looking inside of myself for any trapped memories. The real process is a continual self-hypnosis examination of the elements I've encountered while viewing them in various lights, noises, and shapes.
Visual artist Marina Ghevondjan explores social, cultural, and environmental issues in her work. She looks at both historical and contemporary challenges and how they have impacted our culture. Both photography and sculpture are put to the test in her work. She is particularly interested in human behaviour and how the subjective and objective worlds interact. The visual presentation of Marina Ghevondjan's work engages the audience by guiding them through material exploration and conceptual experimentation. She explores conceptual narrative work that is diary-like mostly in her work, and she critically considers her concepts. It all comes down to carefully crafting the argument and examining the issue at hand as well as the underlying assumptions, motivations, and intentions. The careful deconstruction and dismantling of photographs and other materials is the centre of her art practice. When reconstructing constructed partial knowledge from the past, Marina is more interested in what is missing and the empty space left behind.
website: Marina Ghevondjan (portfoliobox.net)