Davit Andranikyan’s creative journey is a 15-year history filled with internal transformations and unwavering loyalty to his vocation. Having begun his professional training in his native Yerevan, Davit explored various facets of mastery: from the filigree precision of jewelry making to the bold expression of tattoo art. However, painting always remained his "inner compass." His move to Israel in 2023 became a turning point—a return to the canvas that filled his palette with new light and courage. Today, Davit Andranikyan is a recognized master whose works grace collections in Armenia, Israel, and the USA. In this interview, we speak about the magic of the moment, the philosophy of portraiture, and the vital importance of hearing one's own voice.
Davit, your path to painting has been multifaceted. Tell us about your experience in tattoo art and jewelry making. How did these fields influence your unique style in painting?
I have periods when I want to try something new in art. Jewelry and tattooing are directions that have always attracted me with their expressiveness and complexity—fields where there is often no room for error. These skills significantly help me when working with a brush: they develop precision, focus, and confidence. I still create jewelry and do tattoos from time to time, and I don’t plan to stop.
Painting has been your passion for 15 years. What brought you back to the canvas with renewed strength?
For a long time, I wasn’t painting or drawing, but painting always lived in my head. In everyday life, I often look at everything as a sketch, a reference, or a finished canvas; I notice the light, the rhythm, and the pauses between forms. Even in the most ordinary moments, I find visual images I want to preserve. I returned to painting without even noticing it: one day I just picked up a brush and paints. There was no plan or expectation—it was as if I remembered something very important. I think it was simply time to speak this language again and let my hands do what had been maturing inside for so long.
In 2023, you moved to Tel Aviv. How did the change of environment affect your inspiration and your palette?
Israel has had a very positive influence on my painting. Here, I found my second wind. My palette became filled with bright and diverse colors; there is more light and contrast. I began to paint more boldly, trying things that previously seemed unacceptable to me, allowing myself to experiment and go beyond my former ideas of painting.
Your primary techniques are oil and acrylic. How do you choose your material, and what is more important to you: technique or emotion?
For abstract works, I always choose acrylic. Especially when working with a palette knife: acrylic dries quickly, which is very convenient and offers many possibilities. I use oils for works that are closer to realism: landscapes, portraits, etc. I paint with oil when I am calm, when there is time to think, not to rush—a kind of meditation. Acrylic, on the other hand, is about emotion, sharpness, and expression.
How do you find inspiration for new works?
Inspiration is always with me, and ideas are born from everything that surrounds me. The world constantly suggests plots and images, and I always feel the urge to paint. Unfortunately, it’s not always possible to stop and manifest that desire on canvas right away.
You have a special love for abstraction. How do you manage to convey an "inner state" through form?
I convey internal states or feelings in abstraction through color and strokes—more often with a palette knife than a brush. Most importantly, I try to do it quickly and in the moment, without leaving it for tomorrow, because the next day I will already look at the work differently.
Recently, you have been concentrating on portrait painting. What attracts you to it?
I can’t yet pinpoint exactly why I’ve been drawn to portraits. When I paint something else, I try to capture a moment. In a portrait, I most likely want to convey what a person is thinking about or what they intend to do—in short, their thoughts.
Could you describe your creative process?
There are different types of artists. Some are like architects: they plan everything and follow the plan. Others are those who drop a seed into the ground and don’t know what will grow. I am the second type. I just start, and what comes of it will be seen at the end.
Do you have a favorite work among your creations, and why is it special to you?
I believe that I haven’t written my favorite or best work yet. For me, this isn’t doubt, but rather a sense of the path and growth. Each new work is a step, an attempt to get closer to the image that so far only exists inside. It is this feeling of incompleteness that keeps me from stopping; it forces me to search, try, make mistakes, and return to the canvas again. I believe the most important work is always ahead, and perhaps that is why it is so important for me to keep painting.
Participating in Golden Time Talent brought you an invitation to London. How did this success affect you?
I enjoyed it very much; it was a good experience, and I plan to keep moving in this direction. Participating in the Golden Time Talent exhibition was an important step on my path—an opportunity to share my vision and open new horizons for my creativity.
Your paintings adorn collections in Armenia, Israel, and the USA. What makes them attractive to collectors?
I don’t even know why that is, because I always look at my paintings critically and notice flaws: things that could be finished or redone. But I am very happy that my works resonate with other people, that they touch someone and evoke emotions. This connection with the viewer gives me the inspiration to continue creating and searching for new forms of expression.
What goals are you setting for the next 3–5 years?
My plans are to continue painting, drawing, and developing—to move forward. As for solo exhibitions, I hope that day will definitely come. I am actively working in this direction and am always open to new opportunities for cooperation and dialogue with other artists and creative people.
