Samurai (Samuray), 2017
Loco Driver (Lokomotif Sürücüsü), 2017
Loco Driver (Makinist), 2015
Portrait I (Portre I), 2015
Mademoiselle II (Matmazel II), 2015
Rider (Binici), 2013
Traveler I (Seyyah I), 2014
Born in 1961, Yerevan, Armenia
1978-1982 Studied at the Panos Terlemezian Arts College
1984-1990 Studied at the Yerevan Academy of Fine Arts
2001 Member of Union of Artists of Armenia
2016 Contemporary Istanbul Art Fair, with Galeri 77, Istanbul, Turkey
2015 Contemporary Istanbul Art Fair, with Galeri 77, Istanbul, Turkey
2015 Roots, Bel-Air Fine Art Gallery, Geneva, Switzerland
2014 Beauty in the Palm, Beirut, Lebanon
2014 Contemporary Istanbul Art Fair, with Galeri 77, Istanbul, Turkey
2013 10th Anniversary of Arame Art Gallery, Yerevan, Armenia
2013 Contemporary Istanbul Art Fair, with Galeri 77, Istanbul, Turkey
2012 Grand Opening of a New Art Center of Arame Art Gallery, Yerevan, Armenia
2012 Contemporary Istanbul Art Fair, with Galeri 77, Istanbul, Turkey
2010 New Masterpieces, Arame Art Gallery, Yereva, Armenia
2007 Dreamscape, The Netherlands
2004 Still-life at Arame Art Gallery, Yerevan, Armenia
2003 Romantic Realism, Arame Art Gallery, Yerevan, Armenia
2001 Modern Art Museum, Yerevan, Armenia
1998 Armenian Colors, Schleicher, Germany
1993 Independent Art Exhibition “Grand Palace”, Paris, France
1987 Armenian Artists Union, Yerevan, Armenia
2007 Venus and the Female Intuition, Denmark / The Netherlands / France
2006 Bel-Air Fine Art Gallery, Geneva, Switzerland
2005 Gallery Mouvance, Paris, France
2004 Gallery Mouvance, Paris, France
2003 International Artexpo, New York, USA
2002 Gallery Mouvance, Paris, France
2001 Modern Art Museum, Yerevan, Armenia
2000 Gallery Mouvance, Paris, France
1996 Gallery Mouvance, Paris, France
1993 Gallery Mouvance, Paris, France
Daron Mouradian was awarded the prize of Excellence of the Fine Arts Academy of Yerevan. His works are exhibited in Armenia (1972-1991), Paris (1992-1996), Germany, Netherlands, Switzerland, and New York. All his works are inspired by Armenian culture, combining the civilisations of the East and the West, and including memories of the past (the Middle Ages). Mouradian's world of fantasy is an ever-changing environment where the Bible and Mythology play a major role. He leads us to make an in-depth self-analysis, in search of our own roots, to be able to live the future with greater serenity.
A book about his art, "The Art of Daron Mouradian" was published in 2007, the Netherlands.
The imagination of Mouradian is as impressive as his creative ambition. In his paintings visual language replaces the magic of words, graphical mastership allows for narrative efficiency and is intensified by a luxurious palette. This has some resemblance to miniature painting and declamation. The painter loves materials and takes pleasure in suggesting clothes. Practice of oil painting allows him to express the savor of things and their tactility. His brush polishes details, dissects them until reaching a gustative enjoyment.
And painting always has the last word. Metaphorical as well as delirious, surrealistic and fantastic, it gathers, in hybrid evocation, buffoons and acrobats, beauties and shrews, flora and fauna of the Eden. The inspired talent of Daron Mouradian makes him associate Bosch's universe to the fairy world of the One Thousand and One Nights.
La Gazette de l'Hotel Drouot, no.12 (22 March 2002)
East and West merged on the soil of Armenia. Mouradian is the worthy heir of this half-caste culture swept with pain. While cultivating his origins, he was fascinated by the History and the Mythology, which founded and revealed the civilization of the Mediterranean Basin.
Therefore, his paintings depict as many resurgences of this unchanging and marvelous past, the magic of which we are no longer able to understand. Mouradian succeeded in taking this magic and reinventing it. In his paintings the neatness of the stroke, which we sense that the artist masters perfectly, models the sparkling colors. Figurative and evocative, each canvas is a clever blend of technical and esthetical perfection, of elaborated details serving the gloss of the imagination. Here the grotesque comes close to the sublime; the legend dominates the reality and one allows oneself to be filled by the magic of immutable periods of reminiscence. Mouradian speaks to our imagination; he makes forgotten dreams reemerge in our conscience. His colors revive the period of fairy tales and one is happy to learn that he paints as others flee, spontaneously, without sketches or models. But this ability to flee is not suspended of reality. We see the cruel tale emerging from the marvelous fairy tale when Mouradian stages the ridiculousness of power and the absurdity of violence. Isn't the strength of his work in the elegance with which he stages his disappointed conscience in a fabulous universe? His works are beautiful, his criticism bitter. One must recognize the obviousness of his talent of lucid magician.
Lorraine-Soeli Heymes, Art critic