Paintings

Aram's paintings operate as sites of cultural negotiation, where the methodical geometry of Islamic decorative arts encounters the gestural freedom of Western abstraction. Beginning with gridded structures that reference both Persian carpet patterns and Minimalist compositions, he layers organic forms that seem to breathe across the surface—curves that recall Arabic calligraphy, architectural details, and the natural movements of the hand. Each work emerges from what he describes as an archaeological process, retrieving visual languages that art historical hierarchies have marginalized. The paintings shimmer with accumulated marks that demand close viewing, their surfaces built through the same patient repetition that defines ornamental practice.

These canvases resist easy categorization, functioning simultaneously as abstract compositions and cultural arguments. Aram employs a palette that ranges from the deep blues of lapis lazuli to earth tones that evoke ancient ceramics, creating works that feel both contemporary and timeless. The paintings often leave their underlying structures visible—pencil grids, preparatory marks, areas of raw canvas—revealing the artist's process while questioning the Western tradition of concealing construction. Through this transparency, Aram suggests that ornamental traditions have always possessed the conceptual rigor that modernism claimed as its own innovation.