Still-life with grapes 

Editor: Here we have Minas Avetisyan’s painting *Still-life with grapes*, rendered in oil paint. The fruit practically glows against that murky background. The brushstrokes feel really vigorous to me, especially on the grapes themselves. What stands out to you about this piece? Curator: Indeed. What compels me here is the interplay of the vibrant hues with the somber ground, a tactic which heightens the chroma to near-luminescent capacity. Consider the strategic application of impasto; see how each dab of pigment on the grapes catches light, generating depth with tactile substance. It invites a tangible quality through a mere flat plane. Editor: So you’re drawn to how the artist manipulates paint, how those thick strokes almost make you want to reach out and touch it. Curator: Precisely. Observe further; the composition adheres not to realism, but to a structurally expressive organization of shapes. How do you read the construction of that tilted plate relative to the composition? Editor: Well, it seems slightly off-kilter, creating some tension… maybe even unease. It keeps the eye moving rather than resting. Curator: A keen observation! Avetisyan wields disequilibrium to awaken a unique visual and emotional experience in his still-life. He asks the viewer to interpret how all its various components harmonize – and diverge. Editor: It's amazing how much we can unpack simply by focusing on the elements within the artwork. Curator: Exactly, and with formal qualities alone, we uncover profound layers of significance.