Andronik Khachiian’s artistic journey is driven by improvisation, deep emotions, and a profound connection with the world around him. He sees his practice as a dynamic interplay between the organic and the intuitive, rejecting rigid constructs like logic, symmetry, and preconceived notions.

Trained as a graphic designer, Andronik has explored many creative avenues—design, stage acting, and film directing—each role contributing to his evolution. Although he had drawn before, in early 2022, a meditation in the Mexican jungle marked a turning point, pushing him toward a more serious engagement with drawing.

His artistic development was shaped by a rich family legacy, which he both inherited and reinterpreted in his own way. His ancestors include Ivan Yefimov, a renowned Russian sculptor whose works were celebrated at world exhibitions in Paris and Brussels, and Illarion Golitsyn, an influential Russian painter and graphic artist of the mid-20th century. Ivan Yefimov was also a pioneer in puppet theater and shadow theater, traveling across the country with performances that captivated audiences. Illarion was an experimenter—he developed a unique technique for working with watercolor, created sculptures that he painted as if they were canvases, and memorized thousands of poems, which he recited with great artistry. He was a man of humor and a lighthearted approach to life, qualities that Andronik feels closely connected to in himself. Their impact is subtly reflected in Andronik’s approach, where his works often span multiple mediums—graphic design, performance, and visual art—embodying an ethos of constant reinvention.

Drawing became both refuge and revelation for Khachiian, a process he approaches through a cycle of expressive bursts of total improvisation followed by intricate refinement. His method is one of deliberate destruction and reconstruction—spoiling a piece with raw, impulsive strokes, only to meticulously recover it, adding layer upon layer of increasing detail, as if continuously sharpening his focus and discovering new depths within the work.

At the core of his work is the exploration of crises that give rise to new meanings. Each series begins with a rupture in relationships—be it societal conflicts, personal struggles, or historical tensions—reflecting moments of upheaval, from wars that divide nations and friendships to the fracture of a heart, the shifting roles of heroes within society, and the complex dialogue between the present, the past, and memory.

While relationships are central, his artistic choices and deep love for improvisation stem from his search for the natural within himself. His artistic approach is a way of reconciling with these tensions through improvisation, an attempt to rediscover the natural flow within himself. Rather than rejecting structure outright, he explores ways to move in the opposite direction—toward fluidity, intuition, and organic forms. This approach is evident in his latest project, Death of a Hero, where abstract landscapes emerge through improvisation and layers of texture. The project reflects themes of transformation, resilience, and emotional depth, evolving through an intricate balance of spontaneity and refinement.

Another turning point in Andronik’s journey is the series Somewhere Over the Rainbow, a poignant reflection on heartbreak and healing. Unlike his other projects, this series carries a distinct emotional nuance—though his heart was shattered, he felt deeply grateful for the ability to feel at all. Even in the darkest works at the beginning of the series, this quiet joy is present, revealing itself through subtle contrasts and an undercurrent of warmth. As the series progresses, the landscapes gradually soften, mirroring his journey toward solace and balance.

Andronik Khachiian’s vision extends beyond personal expression; he is deeply committed to supporting other artists. In Mexico City, he founded the Culto Colecta project, which brought together dozens of young and emerging artists and was immediately featured in Vogue Latin America’s “to-do” list for December. The next major venture involves extensive preparation for opening an art cluster in Yerevan, Armenia—his father’s homeland—which will include educational programs, exhibitions, conferences, and art residency opportunities.

An advocate of participatory art, Khachiian’s inventive projects invite everyone—artists and non-artists alike—to engage in the creative process. Empty Space, for example, encourages participants to overcome their fear of their own creativity, offering playful tools like a marker-adorned drill to transform blank spaces into shared works of art. Similarly, in the Usual Routes project, he encourages people to rediscover their surroundings by creating panoramic shots from moving vehicles with their smartphones, unlocking creativity in everyday routines.

Experimentation and provocation are integral to Andronik’s approach. He is not afraid to push boundaries, whether by transforming everyday spaces into artistic playgrounds or making an exhibition of only portraits in an old bus in Mexico City.

One such spontaneous act led him to a unique opportunity: after witnessing his visceral dance at a small Mexican jazz club, the owner invited Andronik to perform as a live, vibrating human instrument. Dance, a passion inspired by his mother, has become both metaphor and method in his creative practice, with Khachiian frequently sharing videos of his dynamic process on Instagram.

Despite his exceptional talent, Khachiian rejects the label of “talented,” considering it meaningless. For him, art is about sincerity—everything else, including originality, connection, and boldness, stems from this foundation. Curators often note his ability to unearth the essence of things, a quality that defines both his art and his life.

“By leaving white space around my drawings, I make it clear that this is not a world observed through a window or framed by the edge of a painting. It is a world of imagination, one that exists only in the moment you look at it and unravel its mysteries. The moment you look away, it vanishes, dissolving into nothingness. This world is as fleeting as a passing thought—a brief flicker of insight that can illuminate the mundane, sustained only by the strength of your attention.

Yet, I’m expecting my drawings to hold attention for long, because I dive deeply into intricate details, trusting that it is through this precision they might compel a closer look.”

His time at Château Haut-Brisson was a deeply enriching experience, where he found an ideal “dark room” for introspection. Immersed in the tranquil beauty of the place, he expanded his ongoing Death of a Hero series, inspired by personal loss and societal change. He moved in a new direction, shifting from his usual markers and watercolors to acrylics on canvas.

During this art residency, he also took the opportunity to delve into the literary heritage of his highly accomplished grandfather, Illarion Golitsyn. Among Golitsyn’s series of articles on his contemporary artists, he discovered ideas that deeply resonated with him—most notably a thought from Vladimir Favorsky, a Soviet graphic painter, illustrator, and art critic:

“If you wish to uncover the infinite within the finite, create your own worlds.”

Moreover, thirsty for any kind of knowledge, he alternated this work with learning sessions on the histrory of art and small talks with the fellow guests at the chateau, each time finding common ground – whether is was a middle aged couple from Sweden or young wanderlust enthusiasts from New Zealand.

Looking ahead, Khachiian dreams of filming a movie at 45, writing a book at 55, and continuing to explore creativity in a multitude of new ways.

Château Haut-Brisson

Artist in Residence — Andronik Khachiian