From April 3 to 10, the Pyunik Development Center, located at 3/1 Buzand St., was transformed into a unique canvas for the debut solo exhibition of young artist Mery Matevosyan. Walking past more than 40 graphic works, visitors found themselves in an environment free of excesses, where the language was strictly that of the clean, minimalist line. The exhibition offered me a meaningful opportunity to step into Matevosyan’s mysterious creative world, which she shared with the Weekly.
The beginning of the journey and the minimalist line
Matevosyan was born and raised in Yerevan. She has been drawing since early childhood and never imagined another path for herself. No one in her family had any connection to art, but that inner childhood aspiration and love prevailed. This passion led her to Panos Terlemezyan State College of Fine Arts, from which she graduated in 2022 with a degree in painting.
Despite her education in painting, Matevosyan currently prefers to express herself through graphic art. Her primary tools are the pencil and the clean line. Asked about this choice, she says it represents the minimal and absolutely sincere relationship one can have with drawing at this moment. The line hides nothing; it portrays emotion exactly as it is.
A studio in her own room
For many artists, having a personal studio is a prerequisite, but Matevosyan creates at home, in her room. Owning a separate studio remains a major dream for her. Still, this has never prevented her from creating her own unique world. She has modified and adapted her room so that it breathes art: Drawings hang on the walls, and although she sometimes grows tired of them and rearranges them, the environment is fully adapted to her creative process.
“When creating a new piece, I am mainly guided by emotion. It is very rare for me to think of something beforehand and then draw it. I mostly draw, and only afterward do I try to analyze what came out and where my mind took me. I might go a long time without drawing, allowing all of it to accumulate inside me, and then one day, several works are suddenly born at once,” Mery Matevosyan said.
The search for sincerity and the sacrament of faith
When speaking with Matevosyan, one realizes there is no false pathos or artificially imposed ideology in her work. She says she does not have one main, forced message. Her greatest wish is for viewers to see and feel the absolute sincerity with which each work was made, which she considers the most important element in art.
When discussing deeper topics, such as faith, Matevosyan displays striking maturity and respect for the subject. For her, faith is a highly subjective and serious phenomenon, and she believes she is not yet ready to speak about it or touch on that sacrament through her art.
The debut exhibition and the mystery of “Motherhood”
The exhibition at the Pyunik Development Center was Matevosyan’s first. After receiving the invitation, she did not develop a specific concept in advance. Because the works were already finished, she decided to frame them and present them to the public. She considers the experience one of the greatest opportunities of her life, one that opened new doors.
The works presented in the exhibition were divided into several series, among them “Motherhood,” which drew special attention. Many wondered: Why motherhood? Matevosyan explains that while drawing, she did not understand the reason herself. Later, when she analyzed it, she understood the most honest answer: It was simply a desire to return to the feeling of absolute security that each of us experiences only in a mother’s arms. After all, is that not the safest place in the world?
The harsh critic and sources of inspiration
“My biggest critic is myself, and I don’t know who could criticize me more severely than I do,” Matevosyan said. Today, when many of the world’s greatest works of art are accessible to everyone, it is difficult to avoid comparisons. From that comparison comes the complex but necessary desire to strive for perfection. She singles out only one of her exhibited works, which came together by chance and which she likes somewhat. It was this piece that marked the beginning of the “Motherhood” series.
Certain influences of world art are noticeable in her work, and she does not hide them. Matevosyan is deeply inspired by Japanese prints and the works of Egon Schiele. This love and inspiration permeate her lines, becoming a unique bridge between the classical style and her own signature hand.
Toward the future
Mery Matevosyan’s drawings are deeply personal; they are entirely about her, without masks or attempts to hide. In the near future, she hopes to expand her creative boundaries, returning with larger series and large-scale canvases. Until then, viewers have the opportunity to admire her sincere lines and look forward to new encounters.
Follow Mery Matevosyan’s work on Instagram.
