Temper
in painting is usually the result (or the cause)
of temper in life. Pedros Malayan does not ask
questions, he simply lives and works in his rhythm
of life. The search for impressions always stimulated
the artist to travel, carrying heavy canvases,
files with drawings and water-colors, he traveled
most of Russia, from Kavkasus to Karelia, from
Baltic sea to remote Tuva. His personal exhibitions
opened in Armenia and Russia, Bulgaria and Poland,
his art has been widely recognized by critics
and art lovers, his students in Yerevan Art Institute
followed every word of their beloved teacher.
And then, leaving the "warm nest", he
and his family again went on the road, this time,
from the footsteps of Ararat, where Noa first
stepped down from the Ark, to the promised land,
coming alive after the flood.
Not long ago, a resident of Yerevan, today he
lives in Bat Yam (city near by Tel Aviv, Israel),
still full of creative and inspiring energy, he
strives to to reflect the new surroundings, the
beautiful land. In his paintings and drawings
we recognize streets of Tel Aviv, charm of old
Jaffa, quiet corners of ancient Jerusalem, meet
the vibrant Arab market. Master of portrait, Pedros
carefully chooses his models, it is the human
character which fascinates him so much.
Not any artist is capable of everything, but Pedros
Malayan can do a lot. He paints and draws landscapes,
city or nature, still-lifes, portraits, figurative
compositions and book illustrations. However his
works have at least 2 qualities. First, his active
stand as an artist, his very personal attitude,
the temper which we spoke off.
Secondly- it is the professionalism. Malayan has
an incredible drawing technique and not less impressive
taste in color, many years of serious learning
and training in the art schools of Yerevan and
Leningrad. Someone might think we are talking
about regular stuff, but the academic school,
which was the base for all innovations during
centuries, in our time is almost lost, moreover,
the supporters of post-modernism mostly dismiss
it as unnecessary and even "dangerous".
But it's not easy to confuse Pedros. Despite all
the arguments against traditional realism in art,
he maintains his view: an artist must know his
craft, have strong knowledge of the laws of nature,
plastic anatomy, but above all: be a thinker.
To work, Pedros doesn't need anything, but canvases,
paint, paper and brushes. However as for any artist
he needs to be shown, needs to know that there
is a demand for an incredible amount of knowledge
and great artistic taste he carefully collected
during his long life. As any artist who was forced
to immigrate he needs our care and support.
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