Born in Armenia, OninO was always a first-rate artist, but she was in doubt about adopting art as a career choice. But after her time in a dedicated art institution, OninO set eyes on the works of the Russian master artist, Torosijn Vagarshak. This resulted to a massive change in the lady who was so charmed by the artistic style of Toros (Torosyan Vagarshak) that she began taking up art seriously. One cannot but discount the substantial and immense effect of Toros in shaping the vocation of OninO as an independent painter who displays significant creative potential of her own.
It shall be extremely unreasonable to name the influences of Toros on her artworks as simple replication it was meant more as an assimilation of alike systems, brush strokes and developing of one's thoughts that should be taken forefront. OninO, who was particularly captivated by the exciting and odd faces of Toros, spent two years studying art under him in the United States. By this time, however, the mentor was triumphant in letting her understand her unique method and cultivate her artistic potentials through the substantial variety of her work of art.
Whatever evaluation made between a mentor and a protege can't be considered as a replication of art on any party. It's in fact a realization of the artistic level of each artist in attempting to underscore the artistic finesse of each while remarking the external influences of the polished result.
As is anticipated, the influence of Vagarshak Torosjin is quite obvious in some of the past works of OninO. Although even in the later years she retains a number of it, it's more on the latter portion of her artistic term when we can perceive the uniqueness of OninO as a painter. During the early period, one spots resemblance especially in the representation of the characters, this includes the same slender faces, with curious expressions. A careful glance on the other hand, demonstrates that Torosijn Vagarshak's characters are either at times more practical and at others, entirely strange, while those of OninO's are somewhere in between. Also interestingly one assumes the view that her characters are bigger than in real life and more magnificent and bold in their mannerisms.
One cannot help but discount in both the creations of Torosijn Vagarshak's and OninO, the emphasis on the various styles of hats that the characters wear. While the faces of Toros are without hats (though the characters do put on a hat in the other masterpieces), every masterpiece of OninO has the characters donning some or the other type of colorful hat. In fact, all of OninO's hats are exciting and they gain as much thought as the characters themselves.
Both Toros and OninO on the other hand, retain their influence of Cubism; OninO at times more than her master. Her toying with shapes is very subtly revealed and so dainty that one may miss it if not viewed with a perfectionist eye. The combination of natural elements and emotions into each of the paintings is one unique attribute of both Vagarshak Torosjin and OninO. However, while Vagarshak Torosjin practically keeps barely any traces of feminist tendencies in his masterpieces, OninO's paintings are replete with them.
OninO's liking for romance, match making, revelry and display of wealthy living make her works have a clerly unique aura from that of Toros, who can be more related with the two edges of make believe and realism. Similar to some other genres, both painters are pretty much mismatched in their choice of subjects.
The daring brush strokes of Vagarshak Torosjin against the more delicate ones of OniO's and alike color palette are however, exclusive preferences that come to the fore while observing the two painters.
In the depiction of emotions within the imagery of their work of art, whether comic or miserable, love or enthusiasm, fury or disappointment, both the artists reveal sufficient evidence of mastery. It is in this resemblance yet unique presentation of creative ability and impressions that both the painters stand their own ground and OninO makes her declaration as painter of grand caliber quite intensely felt.