Sirak Melkonian is a leading artist, from the first generation of abstract painters in the modernism movement in Iran. He started his work with figurative and academic painting and in this process, over several years, eventually joined the complete abstraction. Initially, he was inspired by expressionists, but gradually, the element of line became an important element in his artworks. Despite using the line and colour in his artworks, is sensitive and selective, nevertheless, there is a significant expressive power in them. Pioneering in painting is the result of thinking, which, the source should be sought in the painter’s personal life and travels in the early 1970s.
During this time, Melkonian’s travels to Sistan and some other cities in the south Iran, have formed the turning point in his works. In these artworks, by Melkonian, the simplified version of nature in desert, field, mountains and hills can be observed. Inspiration from the nature of the original landscape of Sistan, Chabahar, Jask and other southern cities in Iran and besides it, the designs of famous Iranian clays and beautiful Iranian texture, can be seen in his artworks. Later, the major specification of Melkonian’s artworks, gradually, has changed to two-dimensional surfaces with boundary lines and limited colours. This artwork, is the result of minimalistic view of the painter to the nature.
By eliminating the visual complexities and disorders of the nature, s new structure in his artwork has been formed, which is known as Bone Method. Moving along this path, by eliminating human and other faunas, Melkonian takes another step towards abstract nature, and in his last artworks, he reaches to vibration, which is the result of a specific musical and rhythmic minimalist understanding. Melkonian’s modernism, is very specific, unique and far from the absolute modern style. In the context of his abstract artworks, same as this artwork, we are witnessing parts of the nature, which have placed with each other, with a Cubist View and have formed a geometric shape. By interconnecting the dispersed elements in a form, which is absolutely belonging to himself, a networked structure has been achieved, in which all the visual elements are unified..
“Although by looking at Sirak’s artworks, audience sees the line dominated, this domination is not ostentatious and does not reduce the appearance of the other elements. A point forms a line, a line, forms a surface, a surface forms the volume and the colour, which sits on the canvas so humble, all are appearance and placed near by each other. As if, this placement of the elements, are the placement of various elements in the nature from Laozi‘s point of view; Daoist Passenger. There is a reason that in Sirak’s lines and shapes, hidden layers and texture of the nature are revealed, and they are formed by the intangible and soft rotation and circulation movement of his hand. This is such a movement, that observer forget the nature and the surrounding world and does not question the actions of the artist in the artworks. Observer is mesmerised by following the slow movement of forms and lines and, the fantasy shapes. Finally, the audience, is pleased by observing the path of the painter. The best painter, is the one who thinks freely, paints deeply and has his own path and follows his own soul. Sirak knows all these facts and according to that, his artworks are lasting for the life time.”