A note on “The Splendor of Repetition” Arbi Keshishian’s second solo exhibition at Sheydaei Gallery
According to Søren Kierkegaard, “repetition” is a reversed memory, a recollection of a movement in different directions, because that which is recalled is repeated. The repetitive phenomenon offers the opportunity for recreation; it manifests experience again and forward, and from the heart of truth, a new truth emerges. Repetition is a forward movement, producing something new rather than reproducing something old. From this perspective, repetition is considered a reversed recollection, which is not merely one aspect of producing or manifesting the new: the new only and solely appears through repetition.
Arbi Keshishian, a contemporary painter, in his latest series of paintings exhibited for the second time at Sheidaei Gallery in late Ordibehesht 1404 (May 2025), is deeply concerned with the notion of “repetition.” He believes that in every repetition, a layer of himself is peeled off and placed on the canvas, and then a new layer is ready to be extracted. In this cycle, he repeatedly encounters and becomes familiar with another “self” of the artist, and the creation of his works is born out of this encounter and familiarity.
Broadly speaking, he consistently represents three specific themes in his works: vases, portraits, and people sitting behind tables. Naturally, he remains sincerely and decisively loyal to the repetition of these three series in his works.
His focus on expressive space alongside colorful fantasy, strong brushstrokes, and thick patches of bright colors that announce their presence on every canvas, are among the unique qualities of his works. His straightforward and unpretentious artistic approach in choosing colors, objects, and their arrangement—whether placed beside each other or on the table—evokes a remarkable sense of freshness and visual excitement in the viewer. It seems that the audience, by seeing these enticing works, becomes inwardly exhilarated and receives a visual caress. Qualities such as simplicity and authenticity are not only distinctive features of Keshishian’s works but, in fact, this choice of style is the artist’s signature. He consciously creates works that are “easy but impossible” or “simply complex.” In other words, behind every colorful window of his canvases, he expresses a broader reality beyond what we see.
In the vases series, we witness small, colorful works, each containing three or four vases with colorful plants or green-flowered, or flowerless, proudly displayed. It seems as if these few vases have lined up in front of a camera, posing and ready for a photo. In each frame, the plants and vases prepare themselves for the next photo by slightly changing their angle.
However, this series is a nostalgic narration of the artist’s lived experience, and traces of childhood memories are revived in it. Arbi Keshishian was born in a household where growing flowers and plants—especially large and resilient ones—was a beloved tradition. Naturally, the creator of these works, considering his family background, has a deep and unique perspective on plants as living beings that require attention—not only water, light, and fertilizer. In fact, through the repetition in creating the vases series, he not only preserves the narratives of his historical mind but also attempts to guide the viewer toward understanding the relationship between humans and plants and its significance. He believes that it is this kind of attention and manner of caring for plants that shapes a shared energy circuit between us and them, and this interaction can have mutual and effective impacts.
In the next series, People Behind the Table, Keshishian considers sitting behind the table as a kind of celebration—a small and sweet party we hold between performing two tasks for ourselves. This celebration carries the pleasure of pause and comfort, even if just for a short moment. The objects on the table, depicted in an expressive manner with a few color blocks, possess such delicacy and self-expression that they excite every viewer. The people behind the tables are women who have styled their hair and wear jewelry on their hands and neck, like ladies prepared to attend a lavish party. Usually, on the right, left, or both sides, colorful vases holding a few flower branches appear like bodyguards protecting these elegantly dressed women. These people sit behind a table covered with their everyday belongings to rest briefly at a station between two paths. Each of them undoubtedly has a meaningful connection with every object, no matter how trivial, on the table.
Finally, Keshishian’s portraits are the product of this artist’s inquisitive mind, seeking to discover and reflect the pure essence of his inner perception of the external world, combined with his objective understanding of life. He considers the exact photographic representation of a human portrait the duty of a camera. In producing his expressive portraits, he employs a combination of emotions, inner states, texture, volume, color, and light. These works, created either at the large size of 130×130 cm or the smaller size of 30×30 cm, first engage the viewer with the complexity and interweaving of color and texture that together summon a unified whole. These portraits display excitement, intensity, and the mingling of various emotions filtered through the artist’s personal lens.
Arbi Keshishian, a contemporary Iranian-Armenian artist, was born in 1986. He graduated in painting from the Yerevan Academy of Fine Arts and the Islamic Azad University of Iran. He has been professionally active since 2010. He has held several solo and group exhibitions, and some of his works are part of important collections both inside and outside the country.
Sheyda Azizi
