- Nazareth Karoyan , 2000 From the catalogue presented by Vicki Hovanessian
In Arthur Sarkissian’s case, to uncover this disposition of time means to tear apart the surface of the present, to discover cracks and holes that let in the light of new possibilities. What is revealed is the total pictorial heritage of the past, from specimens of applied art to interiors and exteriors of diverse architectural styles; from seals, insignia, manuscripts and embroidery to the masterpieces of Renaissance and Baroque art.
- PeterFrank , 2006 From the catalogue presented by Caroline Tufenkian
This is the message that underlies Arthur Sarkissian’s oeuvre. In Sarkissian’s paintings what-is-known meets what-is-felt within the bounds of the picture plane. What is “felt” – embodied in Sarkissian’s painterly gestures and rich coloration – maintains its integrity, and what is “known” – concretized in the images Sarkissian finds in mass media and transfers to the heart of his artworks – continues to evince its source in widely disseminated formats such as newspapers and books. But despite this obvious polarity, Sarkissian effects a remarkably easy and unstrained flow between the felt and the known, between raw brushstroke and transferred image. Each element becomes not just a foil, but a partner, for the other.
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