Flowers 1929

Editor: Here we have "Flowers," a 1929 oil painting by Martiros Sarian. The explosion of colors and almost palpable texture of the paint makes it feel very lively. What stands out to you? Curator: It's interesting to consider the oil paint itself, how its very materiality dictates so much. Sarian uses it to create a surface that emphasizes the *thingness* of the painting itself, its manufacture. Look at how he builds up layers. What do you think this physicality communicates, considering the subject matter? Editor: Well, the subject matter being flowers, usually seen as delicate...the heavy impasto feels like a purposeful disruption, almost industrialized. Is it supposed to challenge that traditional view? Curator: Precisely! Think about the cultural context in 1929: industrialization, new modes of production transforming daily life. Sarian, while painting flowers, also shows us the *labor* involved, making visible his choices of tools and their inherent physical properties. How does this interplay of traditional subject and modernist technique affect the meaning for you? Editor: It shifts the focus. It's less about representing an object and more about highlighting the process, the tools, and even Sarian's physical interaction with the materials. It also shows the move toward making 'art' and not 'craft' so visible, challenging the old definitions of skill as hidden versus as intentionally revealed labor. Curator: Exactly. And in doing so, Sarian invites us to reflect on not just what we see, but *how* and *why* it was made. Materiality is the key here! Editor: It’s really fascinating to see how the conscious use of materials and the acknowledgement of the making process can radically alter the message and reception of such a classic still-life. Curator: Indeed. Sarian transforms something seemingly simple into a complex commentary on art, labor, and the changing world around him, all embedded in the thick application of oil paint.