„Ervant Nicogosian practices some sort of figurative gesturalism, where elements of objective reality are metaphorical reduced to the spontaneity of the momentum. Born in the Stalinism period, in the middle of the most atrocious tyranny in Odessa, Ervant Nicogosian could tell us from the beginning of his Confessions: “I had a very, very beautiful childhood! It took me through happy and harsh moments. This is the charm of childhood in fact: difficulties, delusions…the first thing I remember, when I am asked how was my childhood, is the suffering I endured at that time; I still live the nostalgia of that suffering.
The light from his painting is the faith that penetrates everything, peacefully, troubling the persistent darkness, in different hues in each and every of his paintings, regardless of the allusions that can be perceived in the subtext of the image. That faith as big as a mustard seed, or not even that big, makes the darkness shiver with all its fibers. The panic of evil is indisputable at all stages of his evolution. Darkness and light sit face to face, supervising each other carefully. Moments succeed each other, but do not interfere. The symbolic sense amplifies in permanent reverberations of a profound ethics. In and beyond history. In and beyond art. The besiege of light continues.
Darkness and light stay face to face