It has already been twenty years since artist Vazgen Bazhbeuk-Melikyan-who brought a breakthrough energy and a new direction to contemporary Armenian painting-is no longer physically with us. Yet, thanks to the magical compositions he left behind and the ideas that captivate with their magnetic power, the spirit and breath of the maestro continue to hover among lovers of art.
After many years of interruption, from October 10 to 20, 2025, an exhibition titled “Paintings from the Future” was organized at the Artists’ Union of Armenia, thanks to the efforts of the artist’s son, Sargis Bazhbeuk-Melikyan.
Yes, From the Future… The artist himself had predicted that many of his contemporaries were not yet ready to understand what he was painting. According to his own calculations, it would take twenty to twenty-five years for people to truly understand his work. In the opening speech of the exhibition, the painter’s son emphasized that this time has already come. Exactly twenty years have passed since his death.
“Vazgen preserved the purity of his soul, and regardless of whether the viewer understood the canvas or not, the beating of his heart is present in every creation” ,- noted his wife, Mrs. Jemma, in one of her interviews (1).
Although ten days is far from enough to become acquainted with the maestro’s works and comprehend the depth of his inner world - especially for the younger generation who are only beginning to discover him-the constant flow of visitors and their reflections throughout the exhibition proved that even such a short-term exhibition was a deeply necessary one.
“There is a lot of malice in the air, and that is difficult for the purity of art. Only the cosmos helps”,- reads one of the lines preserved in the artist’s letters. These words feel strikingly relevant today, at this very moment. It is certainly no coincidence that the exhibition of works by Vazgen, the most mystical representative of the exceptional Bazhbeuk-Melikyan artists’ family, was organized precisely now-after a long pause- at a time when Armenian society is in great need of purification, deeper self-understanding, correcting its mistakes, and moving forward toward rebirth on the foundation of Armenian culture.
The exhibition became a unique platform for introspection-a space to pause, withdraw from the world for a moment, reflect, return to one’s roots, and at the same time seek paths toward the future.
“Vazgen’s legacy is a lighthouse illuminating those who dare to dream beyond the limits of the present.” (2)
Most of the works presented in the exhibition belong to the family collection, while some were provided by private collectors. In total, 54 works were displayed - each unique, symbolic, and carrying its own story, yet all interconnected with a cosmic force worthy of endless exploration and discovery.
The selected collection transcended conventional artistic directions. Everywhere one could feel the distinctive “Bazhbeuk-Melikyan” signature and spirit, expressed through unexpected yet complex solutions in every detail. One could view the same canvas several times and discover something new each time: from one angle the viewer might see evangelists, from another the figure of a woman; under different light mysterious scenes would appear - variations of the merging of male and female forms and the transformation of essences.
A special place was given to works dedicated to members of the artist’s family, which the maestro seemed to approach with particular care and tenderness. Among them stands out the portrait of Mother-so lyrical, so full of longing, so luminous, as she is Mother, she is light. The artist once dreamed of his mother’s soul and, upon waking, painted the portrait. The work indeed stands apart, resembling an icon.
“His works are not directed toward the external world, but rather reflect the artist’s soul and mind. Most of his collages are complex and multilayered, constructed from diverse textures and materials. The richness and density of color and texture are achieved not through paint, but through material itself,” noted art historian Inga Kurzens. (3)
Many of the assemblages presented were untitled. The maestro intentionally left them without names so that viewers could immerse themselves in the composition, find their own meaning, connect with the work, and make it their own. Indeed, this approach worked wonderfully-visitors interpreted the works according to their own imagination.
The magnetic force of the pieces was so strong that many people felt the urge to touch and experience them physically, especially since the artist completed his works using unconventional methods. Beyond traditional painting materials, he used all sorts of unexpected objects-wood, fabric, gemstones from rings, paper, boards, beads, buttons, bed springs, shells, and thousands of nails. One visitor commented: “How much must a man love a woman to create such a beautiful portrait using nails?” (“Gemma,” 1998).
Art critic Karen Mikaelyan writes: “He created collages from “dead” materials and achieved complete vitality. Without even realizing it, he created his own “ism” in Armenian art—the painterly collage.” (4)
Vazgen Bazhbeuk-Melikyan’s admiration for Armenian murals, khachkars, carpets, and miniature painting is clearly reflected in his works. His artistic references range from cave culture and Fayum painting to icons, miniatures, and classical Armenian painting.
His canvases travel through time, inevitably drawing the viewer into that journey. As stated in the newly published album, the artist watches over art across the centuries.
During the exhibition, the third art album dedicated to the artist was also presented. It was printed in a limited, personalized pre-order edition entrusted
The exhibition was also exceptional in its format. Painter’s sun-Sargis the organizational work to the marketing company Barev Design Studio, particularly to its director, the young designer and producer Mher Gaboyan. This collaboration introduced an innovative spirit to the organization-from canvas-based printed tickets to catalog pre-orders, certificates, and volunteer involvement.
Beautiful “Bajbeuk-style” postcards were printed and given to visitors as keepsakes. Also presented were silk scarves by Artuyt, printed with images based on the artist’s works.
Everything was thoughtfully designed to highlight once again the uniqueness of the artist and make his message more accessible to the public. Of course, it will take time to fully comprehend the depth of his art.
The older generation knew Vazgen and came to rediscover him. For younger audiences, however, the artist and thinker Vazgen Bazhbeuk-Melikyan was almost entirely new. Some visitors entered the gallery by chance, walked around several times, and later returned again to view the works and better understand the artist’s world.
It can confidently be said that the goal of conveying the artist’s philosophy to today’s art lovers has been achieved-serving as a cultural call to remain optimistic and not lose inner faith.
“Time and space lead to God; the path lies in work. You trust yourself, your inner vision-and that is enough. I can do that. I fear only people and everyday life, which can break a life. But when everything is very bad and you break, God glues you back together.”-V. Bazhbeuk-Melikyan (5)
It is precisely this inner faith and honesty that is expressed so deeply in the artist’s works, inspiring every viewer to travel through the magical world of his art—to live, gain energy, connect with the cosmos, and experience purification.
This exhibition truly became a celebration for the art-loving public, and its impressions will resonate for a long time. Undoubtedly, there will be a need for new exhibitions.
One hopes that someday a permanent exhibition space for an artist of such magnitude will be established at the state level, allowing society to continuously be educated through the Bazhbeuk-Melikyan artistic legacy and its national cultural code.
It should also be noted that representatives of the International Association of Armenian Culture attended the exhibition. The artist’s son, Sargis, is also a member of our association.
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(1] See News, “Vazgen Bazbeuk-Melikyan: ‘Paintings from the Future’”, author: Yura Vahanyan https://www.facebook.com/lurer1tv/videos/571586228883204 ;
[2] Mher Gaboyan, “Paintings from the Future” (Art Album), Yerevan, 2024, p. 22.
[3] From the Archives of the National Gallery.
[4] “Vazgen Bazhbeuk-Melikyan” (Art Album), Yerevan, 2013, p. 11.
[5] From the artist’s letters.
Author: Arevik Prazyan
