Untitled, 1991 Red Series Oil on Canvas 31 5/8 in. x 27 5/8 in. Courtesy of Rudik Ovsepyan and Reisig And Taylor Contemporary. Copyright Rudik Ovsepyan.

‘Magaxat’ by Rudik Ovsepyan @ REISIG AND TAYLOR CONTEMPORARY

September 23, 2023

Mr. Rudik Ovespyan introduces a new concept of red and an extension of a self-reliant media form with his archival opening Magaxat at Reisig and Taylor Contemporary. The modest scale and subject of his paintings permits the subject to absorb the stark contrasts of a sentimental pigment. This is one which is precious to Armenian history; one reserved for most sacred of artifact treatments, that which is beyond royal power.

Untitled, 1991
Red Series
Oil on Canvas
31 5/8 in. x 27 5/8 in. Courtesy of Rudik Ovsepyan and Reisig And Taylor Contemporary. Copyright Rudik Ovsepyan.

 

 

And it is here where fine artistry in the contemporary is permitted to be liberated from antiquated spiritual ideas, and instead to be enjoyed for its very sake. The concepts are nothing radical; what is in this placid elasticity is a gentle relaxation of an earthly idea. To consider how common it is in Nature to find variants of red in clay, rock, soil; and yet how difficult it is to arrive at such a gentle agreement by mankind! To be relaxed in the expression, versus bombastic, serves to provide a nobility to the mundane.

 

It is a stupendous accomplishment. It is especially commendable that one of the works is indeed titled Red Series – to help us further gather a new extension of beauty in the perspective of red.

 

Ancient City (White), 2023
Zaun Series
Acrylic, Cement, Latex, Thread, Found Objects, and Piper on Cardboad 41 in 35.5 in. Courtesy of Rudik Ovsepyan and Reisig And Taylor Contemporary. Copyright Rudik Ovsepyan.

 

 

The mind is further expanded thanks to the work of Mr. Ovespyan propelling us towards appreciating a concept of firm with his City White. That solid trust; that confidence built; that knowing of cement. And yet, how beautiful its appearance, away from refuse. Away from a remembrance of waste. This confident position, amidst virginal white, informs the viewer of permanence; and that is in the reflectance of a time when humans were motivated to be eternal.

 

To make cities sturdy to last the onslaughts of savage raiders, seeking nothing but the joy in plunder and pillage as a form of honor. Is not dignity more royally reserved for those kings which desire the best for their subjects, to cultivate dominion perfectly? Then which kings have submitted to the Most High first? To recognize within this fine art the Natural motivations of just men – men sincerely aiming for a more harmonious order or perfection – to be enduring, is to recognize the progress in man toward a permanently beautiful self-awareness: the gates of the Walls surrounding Heaven could not be better represented:

 

“Thine, O LORD, is the greatness, and the power, and the glory, and the victory, and the majesty; for all that is in the heaven and in the earth is Thine; Thine is the kingdom, O LORD, and Thou art exalted as head above all.”- 1 Chronicles 29:11

 

“And a king wishes to be a guardian, [1311a] [1] to protect the owners of estates from suffering injustice and the people from suffering insult, but tyranny, as has repeatedly been said, pays regard to no common interest unless for the sake of its private benefit; and the aim of tyranny is what is pleasant, that of royalty what is noble.”

Aristotle, Politics, Book V. Chapter 10

 

For more information, please contact the gallery:

Reisig and Taylor Contemporary

2680 South La Cienega Blvd,

Los Angeles, CA 90034

323-819-7990

gallery@reisigandtaylorcontemporary.com

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