World web. Urban ornament. Structure. Crystal lattice. System of coordinates. Architectural framework. Scheme…

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In a novel “Atlas Shrugged” by Ayn Rand I came across one thought, which has captured my imagination for a long time: ‘They say that there's nothing but circular motion in the inanimate universe around us, but the straight line is the badge of man, the straight line of a geometrical abstraction that makes roads, rails and bridges, the straight line that cuts the curving aimlessness of nature by a purposeful motion from a start to an end.’

Thus, a series of pictorial works was born. In it geometric black and white frame is contrasted to sudden sky slits, the patterns of Persian carpets and free forms of the nature. Complex colouring full of nuances, volumes and perspectives are opposed to a rigid and laconic lattice.

Urban lace contrasts with the air. Inserts of gray are not random too. Apart from an obvious associative array of dirt, gray concrete, frailty of all things, to reach the desired effect I use special priming with natural ash, which gives a deep natural shade to the canvas, literally making it tactile. The pictures of this cycle are an attempt on my part to make out blue sky through the ornament of electric wires, streams of information and urban lace of a big, tired city. That is why the works of this collection are as dynamic as the high-speed century we live in.

This exposition motivates viewers to reflect on the fundamental issues, which have become particularly poignant during the pandemic crises: dependence on the gadgets, shortage of in-the-flesh communication, virtual surrogates more and more substituting reality for modern man. A vast volume of information having come down on a modern man shapes his perception. It is the aim of the exposition – to snatch, if at least for the time being, the inquisitive mind from clutches of virtual reality, manipulation mechanisms of which are sharpened to suppress the will of an individual in order to obtain a commercial gain. It is possible, that the mind formatted by the modern pop culture has already turned into a kind of artificial intelligence. In pandemic situation on top of problems of loneliness many people had to face unemployment. As environmental degradation is taking its toll, the importance of virtual life has risen significantly. Artificial intelligence is capable of working both ways: it can breathe in our life additional interest, yet, quite the opposite, it can also contribute to this degradation and increase process of job cuts.

The aim of these works is to induce the viewer to think, to reason, to analyze. To think independently, outside political dogmas, imposed censorship or momentary fleeting trends Ornament is a universal information carrier. And the modern QR code can be called the acme of form simplification with the maximal meaningfulness. It is amazing how well the character of this ultramodern computer ornament conveys the essence and spirit of our time, using just the two colours, which as a rule do not exist in nature. The QR codes inserted in the pictures can be scanned by visitors to the exhibition, linking antiquity and modernity.

Scenography of composition chill-out zone for reflections, consisting of 7-9 large format canvases with QR code filled in and a genuine Persian rug at the centre of the hall. 

The works are built on contrasts:
Digit vs Word

Nuanced colouring vs Routine colours (black and white)

Scheme vs Plasticity

In some works there can be traced obvious allusions to Malevich’s “Black Square” and his famous “Victory of the Machinery over the Sun”.

Viewers take off their shoes and take a rest on the carpet. Scenography of the exposition and the design itself call for suppose active use of smartphone, literally visualizing visitors’ attempts to catch hidden meanings the author scattered inside the work. Apart from everything else this is an irony about our gadgets dependence and attempts to find the meaning of life in social networks.

Exposition is complemented by a genuine historical loom, a symbol of painstaking manual labour. Once again a contrast arises here together with the issue of time relativity:

Genetic code vs Program code

Human mind vs Artificial intelligence

The history of ornament is inextricably related to folk art, national belonging and tradition, while QR code is a story with no roots. And this is so typical of our modern time, striving for cosmopolitanism: a life without deep attachments and historical memory is simple and convenient. This is why quotations and allusions are an important component of this series of works. An old, bright carpet on the floor in the centre and a historical wooden loom clearly demonstrate the archaism and handicraft component of absolutely any ornament. Stepping barefoot on a soft pile of the carpet, visitors can slow down their rhythms, touch the tradition and take a somewhat detached look at the realities of modern life.
Essentially QR code is the first ornament in the history of mankind created/generated not by a Human being, but by a computer.

The study of interaction of spontaneous plasticity in living nature and linearity of the mind of civilization continue to interest me greatly. But the main question remains – what is the role of a Man in this interaction? What is the aim and the meaning of Man’s life?

Another part of the creative team is video artist Mikhail Matvienko together with musician Alexei Siverenko. These artists combine visual and digital art, describing thereby the history of mankind transition from physical information media to virtual one. They act as a link between the material and digital elements of the works.

### Thematic animation using pictorial motifs of this series::

#### https://www.youtube-nocookie.com/embed/qipbHwaMEis?autoplay=0&mute=1

This pictorial cycle is dedicated to the genius of Sergei Parajanov. It is homage to his incredible perception of the world, to his gift as director, scriptwriter and in particular to the gift of an Artist. Legendary films as well as the texts of his never to be realized film scripts are indisputably pictures. Each frame of his film can be viewed as a complete pictorial canvas. Each line, written by Parajanov, calls for visualization, not illustrative but just tactile, deeply felt, monumental, something that only pictorial art can give. 

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The pictures of this cycle are quotations of the great Master, permeated with symbols both national and those common to all mankind. Not only the scale and the depth of thought are striking, but also the incredible humanity, which is a humane dominant of all Parajanov’s works. The main character of his works is a Man, always with a capital letter. 

Karine is an initiator and curator of a large scale cultural program of events dedicated to 100th anniversary of Sergei Parajanov. The true focal event of the programme is the publication of scripts collection of the great director for the first time ever in Latvian language.
Artist Karine Paronyanc introduces to the viewer two of her painting exhibitions: 

Chamber exhibition of paintings-quotes (excerpts from Parajanov’s scripts put on canvas) will take place in exhibition hall of the publishing house, being timed to coincide with the publication of the book. Exhibition catalogue is planned for publishing, where each picture will be accompanied by an original quotation from Parajanov’s texts as well as Karine’s reflections on the subject.

The second exposition ‘Armenian Carpet’ is on a bigger scale and conceived to take place in the National Library. It will be timed with presentation of the book to public at large. Unusual scenography of exposition (large-format canvases will be exhibited without stretchers, just canvases floating within the spans of the building), the building itself and library concept will all refer the viewer to the famous ‘bookish’ frames of Parajanov and his iconic flying carpets. 


The beginning of the “Biosystems” project by artist Karine Paronyanc was laid by eponymous composition, successfully presented at the Jurmala City Museum in 2021. Since then, the idea behind works has developed and acquired new forms - to come out of accustomed artistic dimensions and reveal itself in new directions: besides pictures great importance at the exhibition is attributed to sound accompaniment, video elements of installation and scenography of the exposition. These elements create an unbroken motive and allow the artist to draw up a unified line of her narration.  

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In the works presented, Karine Paronyanc studies fabric, structure and movement of man’s natural environment. The pictures included in the “Biosystem” series contain various symbols and codes, harmoniously and carefully written into composition and setting the unique rhythm and form. These works are a search for consonance and likeness, construction of a bridge through centuries and geopolitical borders, which would unite symbols of different ethnic groups. At the same, time the artist is trying to show more than just a similarity between different cultures, but to find common artistic symbols and motives, which could unite people of different nations and perform the humanitarian function of art.

Great importance at the exhibition is attributed to large format pictures of Puzurs series. In these works the artist studies the interaction between linearity of the mind of civilization and spontaneous plasticity of living nature. Inspired by Latvian puzurs motives, Paronyanc interpreted it as ‘universal cell’ – the basic element of all living systems of creation. In this case, the constructive lines underlying these paintings acquire not a destructive meaning, associated with confrontation between man and nature, but quite the opposite, harmonizing and as if blurring the line between nature and civilization. 

The artist’s motto is “Art with Bio tag” - it is a play with a sign, which signifies product quality and the creator’s careful attitude to humans, nature and its rhythms. Such a principle allows to cast a new look at a number of common phrases like “draw from nature”, “understand the beauty of life”, “learn from nature”. According to the philosophy behind these works, artistic stylization and simplification of forms can only be achieved through deep study and analysis of natural patterns – or biosystems.

### Anatomy of the Painting “Biosystem”:

#### https://www.youtube-nocookie.com/embed/z7n2fwMFfpk?autoplay=0&mute=1

The multimedia project “The Greenhouse Effect” is a new exhibition of artist Karine Paronyanc, timed to the 100th anniversary of the Latvian university botanical garden. Being a conceptual follow-up to pictorial cycles “Urban Philosophy” and “Biosystems”, “The Greenhouse Effect” continues a study into the interaction of plasticity of living nature and linearity of the mind of civilization, discovering new angles and smoothing the edges of the eternal “man vs nature” conflict. 

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The venue of the project is the Latvian university botanical garden, which is an iconic space for the artist: her permanent workshop is in its historical lecture hall, while in summer Karine arranges her artistic residence-studio in an abandoned greenhouse. 

“The art with a bio tag” motto remains the central idea of this work cycle. Inspired by Darwinian and space theories, the artist continues her study into the questions of life, rebirth, metamorphosis and cyclicity of all nature’s processes. Thus, alongside futuristic reflections on technology and science in “Urban Philosophy” cycle, there emerges a cycle of botanical fantasies relating science more to natural rhythms than to human constructivism. 

At the same time, “The Greenhouse Effect” has a relevant, topical significance in the context of ecological and humanitarian problems. This is a detached philosophical look at the consumer society: mankind has failed so far to learn to live without wars – both wars with nature in terms of ecology and, however horrible it may sound, real wars between people. 

The works of this cycle carry on reflections on the issue of whether the above-mentioned interaction of linearity of the mind of civilization and living nature is caring and constructive.

Keeping up the experiments with shapes and expositions, in the exhibition “The Greenhouse Effect” Karine Paronyanc arrives at “META” level (from the Greek meaning “after”, “beyond”, “between”), ironically playing upon this sign and transition of most social processes into virtual space. 

Not only artworks in their traditional sense will be presented at the exhibition. The viewers will also find themselves witnesses to all stages of their creation, to study their anatomy and become a party to the creative process of the artist. Modern means of animation and digitalization of the paintings (video artist of the project - Mikhail Matveenko) make it possible not only to capture step by step stages of their creation from the white canvas to a finished painting, but to make them three-dimensional and multi-faceted. It is actually the same game of holograms of the future, the one that is being actively advertised by the owner of Facebook, introducing his virtual reality, “meta-universe” – a creative process the artist had spent months or even years on, packed compactly into a short and bright 3 D- video clip. 

The exhibition is planned as a 10-day interactive creative workshop directly in the abandoned greenhouse of the Latvian university botanical garden. The exhibited finished pictures will echo with the structural lines of the greenhouse itself, thus creating the entire scenography of the composition. At the same time, the animation of the process of their creation will be demonstrated, while the canvases identical to those on which the paintings are painted will serve as screens. Moreover, already during the exhibition, right before the eyes of the viewers, Karine would continue to work upon the canvases. In this manner, the viewers will really become partners in the creative process, both virtually and literally.  

“The Greenhouse Effect” also continues a longstanding collaboration between Karine Paronyanc and Alexei Siverenko (SHRI ALEX), an electronic music producer. The musician once again will prepare compositions to accompany pictorial works, using the natural sounds of the greenhouse and botanical garden. 

The project is of quite historical importance, since it is timed to the 100th anniversary of the botanical garden and its administration had it included in the list of planned celebratory cultural events. All video and audio materials will be kept in the records of the Latvian university and may be further used to popularize the botanical garden and science as a whole. 

For the entire duration of the project, the abandoned greenhouse will be turned into a full-fledged art-residence: for 10 days there will take place in it plein air of Rozental art school students, creative discussions of the Latvian Academy of Arts students, speeches of biology scientists and various master classes. The project author – the artist Karine Paronyanc will assume the part of moderator, serving as a link between art-objects and exhibition visitors. 


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 This is a self-released musical album, dedicated to, and inspired by the “Puzurs” series of Karine Paronyanc’s paintings for the “Biosystems” exhibition. 60 minutes long composition “Kokle Meditation” included on the album was specially created as an audio accompaniment to the paintings of this series, being an important part of the exposition. The audio score was recorded in Riga by electronic music producer Alexey Siverenko (Shri Alex) together with Inese Kozuliņa, the leader of the "Rāmi Riti” ethno music band.

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The booklet comprises reproductions of most paintings from the “Puzurs” series. Thus, the disc can be viewed as a miniature catalogue of the “Biosystems” exhibition.
 
With this series, the artist Karine Paronyanc introduces a new theme in her art - a study of the interaction between spontaneous plasticity of the living nature and linearity of the mind of civilization. Karine drew her inspiration from the motif of Latvian “puzurs”, interpreting it as a “universal cell”, the fundamental element of all the living systems in the Universe.
(“Puzurs” or “puzuris” is the Latvian word, denoting suspended spiderlike structure, a three-dimensional ethnographic decoration made from straws).
“In this collection, for the first time, I arrived so clearly and convincingly at the idea of reducing the horizon line to a point, with the subsequent ‘disclosure’ of the point into a multidimensional construction.”
 
“Latvian Kokle Music Meditation” by Alexei Siverenko (Shri aleks) with participation of Inese Kozulina and visual accompaniment of Karine Paronyanc’s works:

#### https://www.youtube-nocookie.com/embed/U9FRNGV5vwU?autoplay=0&mute=1


The personal exhibition of paintings by Karine Paronyanc is held within the framework of educational and cultural program of the Vecumnieki Music and Art School. Throughout the duration of exhibition the artist will meet school students, conduct master classes in painting and drawing, as well as creative discussions based on her works.

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### Video introduction:

#### https://www.youtube-nocookie.com/embed/66UvvOsnTq4?autoplay=0&mute=1



“Urban Philosophy”, the Exhibition of Latvian artist Karine Paronyanc opened at the Academy of Sciences (Akadēmijas iela 1), Riga, on January 17th. Exposition of the 2nd and 3rd floors and is accessible till the 31th of March.

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### Video poster:

#### https://www.youtube-nocookie.com/embed/YJX8MXp9r5E?autoplay=0&mute=1

The main theme of the exhibition is the existence of man in nature and transformation of his milieu due to progress and technologies. The paintings in the collection are greatly influenced by pandemic and lock downs, they address the issues of rapid digitalization, human isolation and deprivation of the freedom of movement.

In this collection stylization and form brevity reach their utmost. ‘Urban philosophy’ represents compact thoughts which are often ironic, conveyed to the viewer through simplified and geometrized forms, harmonious with our routine everyday life. 

Many of the presented pictures were created within the frame of performances in iconic spots of the city - an abandoned airport, a desolate greenhouse, the premises of the Riga Botanical Garden, the roof of the radio station. The premises of the Academy of Sciences, in which the exhibition is taking place, continue this vector, in itself being a part of exhibition scenography. The majestic interiors of the Stalinist high-rise, the contrast of different eras and the very spirit of the Academy arrange the paintings into coherent narrative and help convey reflections contained in the pictures. 

Artist Lasma Bringina worked upon the design of the exhibition. The exposition is thematically divided into two floors; thus two opposite moods are created: the dynamics, industrialism and bustle of the second floor contrast with the search for the Absolute, the vertical of a spiritual and the natural rhythms of the third floor.

The mood of the exhibition is also emphasized by musical accompaniment. This project is a collaboration continued between the artist Karine Paronyanc and the musician Alexei Siverenko (ShriAlex): musical compositions created under the impression of the paintings will be playing in the halls throughout the entire exhibition. To convey the mood of the paintings, compositions were created with the use of the sounds recorded in an urban environment - often in parallel with the artist's work. The floors will feature music created from the ringing of bells, birdsong, the sound of the kokle folk instrument, as well as the hum of turbines, the roar of motors and other elements of city noise. 

Live music also sounded at the opening of the exhibition, and guests were able to climb the Academy's observation tower. The view that opens from the site emphasizes the creative concept and semantic message of the exhibition - to look at ourselves from a bird's eye view.

### Video trip:

#### https://www.youtube-nocookie.com/embed/NdlYxSxCa0w?autoplay=0&mute=1

Exhibition dedicated to Latvia’s National Day “Supervaronis” (Superhero), palace of culture “Ziemelblazma”, Riga, Latvia. 

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Audio-visual performance “When the Stream of Consciousness Takes Clear Forms”, in collaboration with violinist Georgy Sarkisyan (LNSO concertmaster) and upright bass player Stanislav Judin (“Centre of free music” founder).

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Exhibition “Misija Supervaronis”, #3 video memories:

#### https://www.youtube-nocookie.com/embed/m-nRGKtS6dg?autoplay=0&mute=1


Open air exhibition cycle “4 4days 4 Paintings”, at the National Botanical garden, Salaspils, Latvia.

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Open air performance: the artist arranged plein air on the roof of a well known radio station. 
Karine Paronyanc started her work on one of her picture series in the centre of Riga on the roof of radio Baltkom editorial office.

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### On the roof:

#### https://www.youtube-nocookie.com/embed/VMqSgkaxuyY?autoplay=0&mute=1

It is precisely because of the combination of industrial urban landscape and views of the historical architectural legacy of Riga, that Karine arranged plein air here – in her works the artist touches upon the subjects of human life in the global informational space and uses among other things symbolism of ‘urban tops’ – the motives of roofs, towers and aerials.

 “When this project was offered to me, it proved very in line with the collections I am painting at the moment, these are the ‘Aero’, ‘Urban Philosophy’, a new collection with soaring domes of the temples, ‘QR Code’, ornaments of a modern city. Besides, the rooflines are present in my works in a more conceptual, symbolic key. The symbols reveal themselves in my works, all these ‘flying’ satellite dishes, electric wires, radio antennas – and right here the domes of the temples and historical buildings”, the artist said.
 
“It’s fascinating, how different our aspirations for something higher can be” Karine intends to spend far longer than just one day on the roof of editorial office. Firstly, according to her, it is extremely beneficial for the artist to get out of studio after a prolonged period of work there and do some plein air painting, all the more so, if one is lucky enough to have found unusual new views and spaces. Therefore, taking this opportunity, Paronyanc wants to paint about ten quick etudes of city landscapes. 
But the second and basic part of Karine’s work is a supplement to the conceptual series of pictures already painted. It was important for the artist to show in these collections the dynamics, novelty and discovery of new perspectives and now the artist is going to add to her canvases new elements painted from nature.

“It just happened on its own, but in the end turned out quite conceptual. Topics I bring up are informational smog, the extent of human vulnerability and dependence on mass media and the influence of media environment. It is rather curious to note, that this very roof proved to be connected with the media literally. It turned out a full-fledged performance, as the concept, the place and the visual all came together”, she said.

As part of this project a musician Alexei Siverenko, working like Karine Paroyantc on the roof of radio Baltkom, created a composition consisting entirely of surrounding sounds. For this, both musical instruments and sounds of the city and nature were used – the cries of birds, the noise of the streets, the gusts of wind and the chimes of the bells.

Then the musical composition was combined with Karine’s canvases – video artist Mikhail Matveenko created a video, its entire visual part is fragments of paintings by Paronyanc, while audio part is the sounds recorded and processed by Siverenko on the roof of radio Baltkom.

BIOSYSTEMS. An Exhibition of Latvian-Armenian artist Karine Paronyanc’s new works. Jurmala City Museum (Tirgonu 29), Fireplace Hall. January 6th – February 14th.

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Karine's visionary works reflect, what her "inner eye" sees. The movements of mind and soul create visual structures in the plane of a painting. She builds her own physics, her own optics and formation of the world. She searches for her "elementary particles" and rules, how they sum up creating a perceivable reality – the world in its most extreme zoom-ins and eternal zoom-outs. Every canvas carries an immense load. The works of the series of paintings are intensified hyperboles, which, looked at from a close distance, make it hard to maintain your balance. 

The exhibition comprises works from the series of paintings "Puzurs" (a Latvian word, which denotes a three-dimensional ethnographic decoration made from straws). With the series, Latvian-Armenian artist Karine Paronyanc enters a new theme in her art – the study of the interaction of the linearity of the mind of the civilisation and the spontaneous plasticity of living nature. Karine drew her inspiration from the motif of the Latvian puzurs, which has been interpreted as universal cells – the fundamental element of the Universe. 

The exhibition is accompanied by an audio score – a soundtrack made by electronic music producer Aleksejs Siverenko (Shri Alex), created in collaboration with the music band "Rāmi Riti" and the band's vocalist Inese Kozuliņa.

### Video poster:

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Karine Paronyanc. Latvian Artists. Especially for the press service of the Armenian Union in the Russian Federation:

#### https://www.youtube-nocookie.com/embed/PzhQYrkVlyo?autoplay=0&mute=1

Karine is the third place winner in the art exhibition contest “#Artefakts#PiektāCivilizācija”, “Museum LV”, Riga, Latvia.

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### "Wings of Riga" International ART Fair #ОБОЗРЕЛА by Evgenija Shafranek:

#### https://www.youtube-nocookie.com/embed/ETRbEuokqio?autoplay=0&mute=1

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Karine Paronyanc organized a great number of representative exhibitions (including charity ones) of her students’ works. 


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Karine Paronyanc organized a great number of representative exhibitions (including charity ones) of her students’ works. 

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Karine is a founder, teacher and head of art studio (creative workshop) “Karine Paronyanc Art Studio”. 

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Video report from the cheerful opening:


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Together with painter Anitra Berzina Karine is co-organizer and custodian of a creative space-gallery “Riga Art – Sky Art”.


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Karine Paronyanc was a co-organizer and custodian of a creative space-gallery “Riga Art – Sky Art”. She organized a great number of representative exhibitions (including charity ones) of her students’ works. 

Upcoming

Ongoing