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PRESS reviews


Opening of exhibition of Canadian-Armenian sculptor Megerditch Tarakdjian’s works

Canadian-Armenian sculptor Megerditch Tarakdjian opens personal exhibition

The Monument of the world-famous Canadian-Armenian Photographer Yousuf Karsh was unveiled in Ottawa

A Statue of Yousuf Karsh is Unveiled

The memorial of the world-famous photographer Yousuf Karsh is in the heart of the Canadian capital

A gift from Armenian people: The bust of Yousuf Karsh unveiled in Ottawa

Townie artist Megerditch Tarakdjian enriches Mount Royal’s public art collection with his sculpture The Reader


When Alexander the Great conquered Babylon, he realized that it was thanks to its immensely rich library that the city was able to gain a solid grasp of fields as varied as culture, science, politics and even economics. It inspired him to create a similar library but his plans were waylaid by his untimely death. In the end, it was his successors who created the Library of Alexandria, considered to be the centre for human knowledge in antiquity.

It is a well-known fact that libraries are the very source from whence intellectualism springs and that an avid reader’s thirst for knowledge moves humanity, and in turn civilization, one step further.

Megerditch Tarakdjian, a doctor and accomplished sculptor, brought just such a reader to life in his sculpture entitled “The Reader.” Sitting on a chair with legs crossed, he holds in his hands an oversized parchment. Deeply engrossed in its words, it appears as though he is drawing on the very essence of wisdom. His facial features are not well-defined and his eyes are barely visible. Nonetheless, the hunched shoulders and head bent in concentration clearly express the artist’s intended meaning. The bodiless sculpture features only a head, hands, legs and feet, though this in no way proves unnerving for the viewer. Such is the duty of the artist upon whom destiny has bestowed true creative genius!

We live in a time when many works are forgotten in what can be considered the “wastelands of culture,” a time when director Serguei Paradjanov extracts the essence of the spirit and soul from medieval archives, like words under a grinding stone, when New Realist sculptor César Baldaccini wishes to capture writers and artists along with their works in fishing nets to protect them—this too, is how we should conserve the legacy of Tarakdjian’s sculpture for future generations.

Movses Zirani

PhD in Fine Arts

The portrait sculpture of William Saroyan-to the school named after the writer

Between Eros and Underlying Wrath

Tarakdjian's artistic expression hinges around two distinct planes, one geared towards aesthetics and the other towards advocacy. Some of his sculpted characters have hollow chests while others are sickly thin. The indescribably dislocated bodies bear an unadorned beauty that appears to be simultaneously fuelled in Eros and in fear.

The materials used are the creative tools but the reason-for-being lies beyond mere materials, it emerges with buried souvenirs and palpable emotion that bear witness to an inner universe. The artist appears to reconstitute his instinctive impulses into a distinctive imagery. Art puts him in a position of power, art having the ability to maintain the fluidity of memory. "Artistic creation has for main objective to jostle the mind, to move the spirit," said Dubuffet. Perhaps unconsciously, well-contained wrath makes him quiver between maturity and despair in the human condition, and this is apparent in some of his most fascinating and intensely dramatic works such as The Leader  for example.


Magazin'Art, N 2 Winter 2011/2012, no 94

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