In the connection with with house-warming 1977

Editor: This painting is titled "In the connection with with house-warming," created in 1977 by Mariam Aslamazian. It seems to be a collection of vibrant, almost celebratory florals. What do you see in this piece, beyond the obvious beauty of the blooms? Curator: What immediately strikes me is how Aslamazian, a woman artist in Soviet Armenia, used the language of still life to carve out a space for personal expression within a politically charged environment. Can we see this ‘house-warming’ not just as a celebration of a new home, but perhaps also as a quiet, subversive act of creating warmth and beauty within a potentially restrictive social structure? Editor: That’s an interesting way to frame it. The flowers, bursting with color, do feel like more than just decoration. Is there a specific connection between the types of flowers she chose and this idea of subversive expression? Curator: It’s less about the specific species, and more about the sheer abundance and vibrancy. The flowers represent a reclaiming of domestic space, a celebration of traditionally feminine spaces that are often marginalized in broader historical narratives. Aslamazian asserts the value and importance of the domestic realm, and, by extension, the experiences of women, within the larger political landscape. Editor: So, it’s about making the private public, and claiming space through art? Curator: Precisely. And in doing so, questioning the rigid boundaries between the personal and the political, and who gets to define what is considered "important" art. The artwork acts as a gentle protest against the invisibility of women's experiences and perspectives. Editor: I never would have considered that context without your perspective. Now, the simple act of painting flowers feels so much more complex and meaningful. Curator: Exactly! That is how art expands our understanding of how culture, politics and personal identity all intersect.