IntroductionArmenian painter Armen Eloyan has swathed ‘figuration-as-we-know-it’ in a loud and greasy perverse painterly realm, carrying the viewer towards that last grain of bare and violent vulgarity, which one sometimes - in a horrifying unguarded moment - recognizes in oneself. The act of painting with the whole body - rather than with the wrist alone - is not only a manner of expression but it becomes a risky enterprise of dangerous yet funny acrobatics, as if one were running in too big shoes. The artist devotes himself to pictorial research with what is for many a touching and authentic dedication but, balancing between an apparent unpredictability and purposefulness, his large-scale pictures are often based on the conscious study of the colour scheme and composition of constructivist examples. For his motifs Armen Eloyan often turns to folk-art and folklore, basing his paintings at times on 19th century Eastern European woodcuts and embroidery with representations of fairy-tales and stories, or on animation movies, comic strips and other popular art forms. As in an oral tradition, the digested and assimilated references suggest a domain of received stories and ideas.