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."

Philip Hagopian: "If sand could speak what would it say? In the silent empty deserts of Der- Zor the sand holds a testimony that whole nations denies. The bones of my fathers, cousins, uncles, aunts, friends, and neighbors are crumbling there. The days of their rich lives, their laughter and love are whispering from those sands. The shock and torment of little children, families of a entire nation are screaming from witnessing these sands and now the world will hear them."

Eduard Isabekyan: "The world is full of misfortunes, if a human being doesn’t have to experience it all, but still he does. And the worst part is that one gets a great part of it… And what happened to us wasn’t a misfortune so as to stop hurting, get closed up by dust, it wasn’t a pain that you could tolerate by clenching the teeth… This is an incurable wound, the pain of brain, the anguish of soul..."

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…"