Levon Kojoyan: "The white canvas is the biggest creation where the vision, feelings, life are being depicted. I started my work on the white canvas and every time I start working I remember Avetiq Isahakyan’s words:
Hey jan, motherland, how beautiful you are
You mountains lost in the fog of the skies
With you waters sweet, with you winds sweet
Only your children are in the bloody sea."

Hakob Hakobyan created series of canvases, where the feelings of sadness and loneliness are emphasized. The "Sorrow" is one of these works that belongs to the artist's series of art dedicated to the miserable. suffering human-character who is powerless to fight the destiny. This is the sorrow of the human without homeland living far from his motherland shrouding the pain of Genocide in himself and in other generations.

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."

Decorative wholeness and the rhythmic balance of the painting “work” for the length of contemplation. The width of panorama, dynamism of the painting’s platitude helps raise above yourself and the reality. There is a sense of length of the space in depth through the contrast of the multi-scaled color platitudes. The mountain, as a penetrating symbol - is a witness of the Armenian Genocide in 1915 - very similar to the motive of flood: it reaches to the almost universal scale. And this is the aesthetic viewpoint of the artist.