Moko Khacahtryan: "My spirit becomes wonderfully and uniquely noble and, out of nowhere, the sense of variability which has an inexplicable strength embraces me and gives my existence some mystery and makes me the hero of my paintings. This is where the probability of the impossible turns into reality. When I direct the process, only I can influence, change, give birth to or destroy this or that abstract character. When the color of black, with all its power, falls on the whiteness of my consciousness making it more luminous, it gives the paintings the shape of concealed purity. It gently and smoothly blends with the color of red, but it artfully gives in to the color that can swallow and destroy. Everything gets veiled with a single indefinite and shapeless gesture. Everything gets ruined in my eyes and I am in total confusion realizing that I am not right, that it is not me who directs them, but rather they do it. I humbly obey their demands and surrender to the power of the world being created where I am allowed to exist and fulfill my mission. They absorb my energy and power till the very last drop. And only when they get saturated, do they set me free – until the next time. This is the strongest ecstasy after which it takes you quite a time to return to the reality. But only then can I feel that I exist and breathe. I wish I could stay there forever. In this very unreality, which is sometimes more real than the reality itself, there exists the proximity to God which becomes a part of the fantastic world called art."

Nazaret Karoyan (Аrt critic): "Genocide therefore, was mostly a technological program and action. As such, it did not imply the sheer destruction of a group of people, the removal of all that related to their everyday life: eating (towel, table cloth, napkins), sleeping (tick, blankets, sheets), intimacy, dreams, all those open and secret subjects of everyday life that Bourdieu called habitus. The operation was not only directed to the destruction of the reproductive organs of a human collectivity, an entire race, but also the elimination of all signs, thus making impossible mourning itself and the words of mourning.

Sahak Poghosyan, by addressing genocide, deals with this situation. The point is not that there are no stories in this situation, but that it is impossible to talk, as such, about them. The painter seems to portray their weak whispers that eventually become silence by enmeshing the linear clearness and color brightness of fabrics and trimmings with a coating of paraffin."

Seeroon Yeretzian: "If the Genocide never happened, most likely this would be my family portrait - me, my husband and my son."

Shahen Khachatryan (Art critic): "The sensitive lines of Jansem are flowing in the canvases like blood vessels and harmonizing the subtle, pale color palette, they create hyperrealistic, visual and music atmosphere. Jansem practices this principle of building the image. Exactly 50 years after the Genocide inspired "Funeral of my grandfather" painting, the master creates the "Genocide" series revealing the curtain of the history truth.