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Khoren Matevosyan, 2024 East-West Resident
How much of a culture can one experience in a month? The answer is far more than you'd expect. With 40 exhibitions, daily 30-km walks, and 100% focus, Khoren Matevosyan made it his goal to explore both the essence of Brussels and his evolution as an artist during his one-month residency at the Villa Empain.
A visual artist with a distinct style, Khoren is one of the leading voices in Armenia’s contemporary creative scene. As the co-founder of the visual arts collective Kupikazu, he has curated numerous exhibitions and collaborated with some of Armenia’s most well-known brands. He recently debuted his solo exhibition Emergence, featuring pixel-inspired carpets that became the primary focus of his creative energy during his time at the Villa Empain.
In this exclusive interview, our East-West Resident shares how he arrived at his unique creative style, strategies for staying inspired, and how the Residency transformed his artistic vision. Read on to get to know the artist.
Having recently completed your East-West Residency at the Villa Empain, what aspects of the experience stood out the most for you? Were there any particular moments or encounters that significantly influenced you?
The most special moments were often simple walks. When staying at the Villa, you have ample time to work and go on long walks. There were times when I walked all day, covering distances of up to 40 km through forests and the city.
The city is very flat compared to Yerevan, so you don't notice how far you've walked. Exploring this pedestrian-friendly city on foot is incredibly rewarding because there's so much happening around you. You can witness various events and sights just by walking around. For instance, on my first walk, I saw a huge doll of a man being unloaded from a truck.
As you stroll, you can encounter different festivals, exhibitions, and events. When you return from these walks, you're filled with energy and interesting ideas, often inspiring you to work late into the night.
While staying at the Villa Empain, you focused on a new project that combines your long-standing interests in pixels and dragon carpets. Could you share more about this project, the inspiration behind it, and how your time in Brussels influenced its development and progress?
I believe I accomplished a lot during my time there. I completed about 80% of the planned work, which involved creating pixel illustrations for plaids and rugs for my upcoming first and second exhibitions. While working there, I incorporated fresh elements and new shapes into the pixel illustrations. I was particularly inspired to create new forms after visiting the Brussels Design Museum, where there was an exhibition on plastic.
It's important to emphasize that these pieces will not be traditional. This is a crucial aspect of the project. The works will neither be traditional nor have a contemporary look superimposed on traditional rug designs. Instead, they represent a fresh approach to rug visualization, offering a new perspective on the technique.
Your art is known for its distinct and recognizable style. How did this style develop over time? In what ways do you think your residency in Brussels will influence your artistic approach and future projects?
At the moment, I can't pinpoint exactly what has changed in my work. I believe the full impact will be seen in the long run, but something has definitely shifted. I think a significant factor in this change was my extensive visits to museums and exhibitions. In total, I visited about 40 museums and exhibitions in Belgium and Paris during this time.
I saw works by both Old Masters and contemporary artists. Not all experiences were equally impactful; some exhibitions captivated me to the point where I didn't want to leave, while others felt rather dull. However, I experienced new sensations that I'm eager to share in my upcoming exhibition.
Perhaps the most important outcome is my new approach to exhibitions. This fresh perspective has influenced how I think about presenting my own work and engaging with art in general.
Moments from Khoren Matevosyan's East-West Residency
Throughout your career, you’ve worked on a variety of exciting projects, from collaborating with Tigran Hamasyan on his recent album “The Bird of a Thousand Voices” to co-founding the visual arts collective “Kupikazu” and partnering with some of Armenia’s most prominent brands. As an artist, how do you balance maintaining your creative vision with addressing the commercial demands of these projects?
Maintaining a balance is possible when you have a stable job. I've been working at Tumo for six years, which allows me to be selective about commercial projects. I only take on projects that I enjoy, those that offer creative freedom and substantial creative work.
When you're not dependent on commercial orders, you can be more selective and choose jobs that give you freedom. These projects often provide valuable experience working with diverse people and are genuinely enjoyable to work on.
It's crucial to remember that, even when you're free from regular work and commercial projects, you should continue creating art for yourself. Don't forget to set aside time for personal projects and, importantly, to live your life fully.
Reflecting on your time as the East-West Resident, what do you consider the most valuable takeaway from the experience?
I think the most important conclusion for me was that you can be braver and freer in the creative field. It's realizing that every moment you have can be reset, and you can start over again. You can learn again, prove yourself again, and achieve something new.