MASSACRE on 8 pieces of canvas symbolizes that after the Genocide in 1915 all the Armenians have been scattered to different countries far from home.

Vatché Demirdjian. "I've been working on my painting for many years to bring all the victims of the Armenian Genocide to life. This theme is very painful for me. My grandparents survived the Genocide in Marash, they arrived to Lebanon in 1918 and in 1976 all my family went even further because of the civil war of Lebanon. I've got the same sad destiny as my grandparents. I'm in Paris now and I'm trying to survive by my art. I'm trying not to swim in the RED waters but get my head up... and never drown…"

Sahak Poghosyan: "The project Silence of my grandmother's eyes has been a silent monologue for nearly 50 years... my paternal grandmother was the first person, who connected me with the surrounding world... in my memory I still carry the odor of my childhood, which I scented sleeping in my grandmother's embrace... it was a story with hazy colors, which I was always keen to depict…And now , presenting it, the silent sorrow of her blue eyes recovers in my memory, yelling out the hellish path of the Genocide… Surviving a real hell she never told about it ... she did not tell, but with the right of a survival she transmitted it to the ones who live ... carrying as a relic a patch of the blue sky of her lost homeland in her eyes ..."

Whitney Museum of American Art: "This portrait of Arshile Gorky and his mother is based on a photograph taken in Armenia in 1912, when the artist was just a child. Three years later, during the Ottoman Turk campaign of Genocide against the Armenians, Gorky, his mother, and his younger sister all survived a death march, but his mother never recovered her health. She died in 1919 from starvation. The following year, the fifteen-year-old Gorky immigrated to the United States with his sister. Gorky, however, did not simply copy the photograph, but painted a meditation on remembrance: the white apron worn by Gorky’s mother makes her appear statue-like, and other areas of the painting seem, like memory itself, unfinished and mutable. The figures’ searching gazes lend the composition psychological intensity, eliciting sympathy yet avoiding outright pathos or sentimentality."

This is scream of soul, that the artist is trying to turn to the world though the face of the screaming man. "SOS… SOS… Hear, see what is happening, have an eye to see, an ear to hear…"