Venice’s ancient walls are unaccustomed to the scent of fresh paint, let alone street art. Taron Manukyan stood before that historical silence, a spray can in hand. In a city where every stone is a UNESCO-protected relic, creating street art is either an act of madness or a profound responsibility. But for Taron, it was a trial of the inner freedom he brought from the dusty streets of Gyumri to the global stage. While locals looked on in surprise, he already knew: Art knows no borders if you are free within.
When your father’s paintings — those of renowned artist Gagik Manukyan, president of the Gyumri Artists’ Union — look down at you from every wall at home, picking up a brush is not a choice but a challenge. Taron’s childhood was spent alongside Gyumri’s artistic elite, the very people who would later become his professors. To many, he was simply “the master’s son,” yet he was determined to prove that his abstractions were not an inheritance but a search for his own voice — at times bold, at times misunderstood, but unequivocally independent.
In Gyumri, practicing art is a way of life. The city’s cultural landscape, the intimate bonds between artists and its deep creative memory have shaped an environment where art becomes a natural extension of everyday existence. For Taron, who grew up immersed in this atmosphere, painting was always an inner necessity.
His early environment was filled with renowned painters and creatives who frequently gathered in his home, fostering a vibrant atmosphere of artistic exchange and forming relationships with individuals who would later become his lecturers.
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His engagement with painting began almost in early childhood — at the age of two or three — as evidenced by preserved works from that early period. By age 10, he was already participating in professional workshops and, that same year, held his first solo exhibition at the Gyumri Academy of Fine Arts.
His earliest works, as with many children, were abstractions. They were often imaginative pieces built on free forms, some of which have been preserved to this day. During those years, he also created a series of portraits of Christ, which remain among the most memorable works from his childhood.
Over time, the artist’s creative language evolved. “Many artists transition from figurative painting to abstraction. In my case, the process was the opposite, since I was already working within that language,” he told the Weekly. “Today, technology and contemporary art are in constant flux and development, and this inevitably influences ways of thinking and formal expression. In Armenia, especially in Gyumri, engaging with contemporary abstractionism is quite challenging. Today, there are artists whose abstraction no longer replicates 20th-century approaches, but is instead constructed on new conceptual layers.”
Taron’s father is an abstractionist, and this mode of thinking was familiar to him from an early age. However, the continuously evolving field of contemporary art required new approaches. Limited material resources, a lack of technical means and, at times, a relatively closed cultural environment pushed him to search for alternative solutions.
One of the key catalysts behind these changes was street art. Initially, ideas were born in the streets — on walls — as a form of free self-expression. Street art offered the opportunity to work with large-scale spaces and to establish direct contact with the urban environment and passersby. Over time, these same ideas were transferred to canvas, forming a new body of work that combines the raw energy of the street with studio-based thinking.
According to the artist, repetition is one of the greatest dangers in art, while discovering one’s own visual language is the most essential goal.
If an artist possesses independent thinking, then even when growing up within the same environment, they will ultimately find their own path.
Finding one’s path, however, is not solely an internal process. International experience played a significant role in his development. Over different periods, he traveled to Kazakhstan, Spain and France, engaging with international artists and encountering new names and approaches that are either inaccessible or little known in Armenia.
His experience in Venice holds a special place. There, he completed several street art projects, one of which was carried out legally with permission from local authorities — an uncommon occurrence in a historic and culturally protected city. This ecology-themed work became one of the city’s first officially sanctioned street art projects.
For artists who do not have the opportunity to travel abroad, he advises studying contemporary art as much as possible, especially the “living” art being created today.
In his view, contemporary art is particularly interesting because it is happening right now; it responds to our time, our problems and our way of thinking.
“It is a very sad fact when an artist does not step beyond their boundaries, whether mentally or by physically traveling to another country. This is almost a necessary condition; one must have freedom in order to create works that are relevant and engaging for people,” he remarked.
The question of quality in contemporary art often becomes a controversial topic. Many are surprised that an ordinary object, like a banana taped to a wall, can be considered art.
According to the artist, the focus should not be on the object itself but on the concept, the subtext and the journey the creator has undertaken. Artists like Maurizio Cattelan have spent years establishing their reputations, and each new work is perceived within the context of that entire history.
“If we look at an ordinary cup as a work of art — through a different lens, paying attention to its structure, form and giving it new meaning — it can become a piece of art. The most challenging part is conveying that conceptual layer. By changing the subtext of an object, you give it a new life. When you stop seeing an object as merely ordinary and begin to approach it from a different perspective, it can transform into a work of art,” Taron explained.
In terms of exhibition activity, his journey has gone through several stages. His first exhibition took place when he was just 10 years old; although he does not consider it particularly significant, it marked his debut as a painter. In 2012, he held an exhibition in Gyumri, followed by a joint exhibition with his father at the Gyumri City Hall in 2020. In 2023, he exhibited in Yerevan at the Henrik Igityan Gallery. His most recent exhibition took place in November 2025, a solo show at the Union of Artists of Armenia. He has also participated in exhibitions outside Armenia.
He began working with street art around 2011–2012 with friends. At first, they were not fully aware of the international street art and graffiti movements. One of their earliest works was a portrait of Salvador Dalí on the wall of the Gyumri Academy of Fine Arts.
Attitudes toward street art in Gyumri were generally positive, and most of these works have been preserved — unlike in Yerevan or other cities, where some pieces were removed. Over time, the street art group’s activity ceased due to financial, sponsorship and material challenges and, today, each member works on independent projects.
In recent years, a widely recognized project initiated by the well-known Armenian-American artist Minas Haladjian involved street art inspired by the statue of Anahit. Challenges surrounding the project arose from permit issues and organizational errors.
This story once again highlighted how vulnerable creating art in public spaces can be. Nevertheless, some works have endured and become part of the cityscape, including a piece near the Davtashen Bridge.
Taron Manukyan’s art in exhibition
Upcoming plans include a group exhibition in New York, a possible residency in Los Angeles and several new street art projects in Yerevan and Gyumri. While organizing exhibitions in Armenia remains challenging, the artist continues to work and create, ready for new opportunities.
Taron Manukyan’s artistic path demonstrates that contemporary art is not only an internal necessity but also a multi-layered, dynamic process that responds to our time. Through both street art and abstraction, he expresses freedom, a willingness to experiment and independent thinking.
His journey — from childhood abstractions to international exhibitions — offers a compelling example that meaningful, relevant and contemporary art can be created in Armenia, resonating with global cultural trends and inspiring a new generation to continue creating.
For more of Taron Manukyan’s art, follow him on Facebook and Instagram, or visit his website at https://tarontm22.wixsite.com/mysite/the-unknown-land.
All photos are courtesy of Taron Manukyan unless otherwise noted.
