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[Eng] Jean Boghossian, an artist whose life story weaves through the tumultuous tapestry of war, exile, and a relentless quest for identity, stands as a testament to the resilience of the human spirit. Born in Aleppo to an Armenian family that fled the ravages of genocide, his existence has been marked by the search for belonging and meaning in a world often hostile to both. His journey through life and across continents has profoundly influenced his art, infusing it with a deep sense of history, loss, and transformation. Boghossian's artistic vision is profoundly shaped by his experience of war, a force that simultaneously destroys and, paradoxically, creates. The violence he witnessed during the Lebanese Civil War, in particular, left an indelible mark on his psyche. Yet, instead of succumbing to the trauma, Boghossian channeled his experiences into his art, finding in the destructive power of fire a medium through which he could explore the complex interplay of creation and annihilation that defines the human condition. His works are not mere representations of destruction; they are embodiments of the cycle of life and death, decay and rebirth. As a world traveler, Boghossian has absorbed the cultural nuances and artistic traditions of the many places he has lived and visited. This global perspective is evident in his work, which transcends cultural and geographical boundaries, yet retains a deeply personal connection to his Armenian heritage. Fire, a central motif in his art, symbolizes not only destruction but also purification and renewal—a force that consumes and purges, leaving behind a new beginning. This duality is a recurring theme in Boghossian’s work, where the act of burning becomes a metaphor for the transformation inherent in life itself. What distinguishes Jean Boghossian from his peers is his innovative use of fire as a medium, to the point that we could consider him the artist that to date has become a pioneer in the consistent and eclectic use of fire and methods of burning. Unlike traditional artists who rely solely on brushes and pigments, Boghossian wields blowtorches, smoke, and fire itself to create his works. This unconventional approach is more than just a method; it is a philosophy. In his hands, fire is not merely a tool of destruction but a means of creation, a process that mirrors the continuous cycle of destruction and renewal that pervades existence. Fire as an artistic medium has deep roots in both ancient and contemporary art. Boghossian’s use of fire can be seen as a continuation of the ancient alchemical traditions, where the transformation of elements was believed to reveal the hidden truths of the universe, a testament as well to his family career in jewelry-making. In his art, fire is not just a destructive force; it is also a purifying one, burning away the superfluous and leaving behind the essential. This process of reduction, of stripping away the unnecessary, is central to his artistic philosophy. The charred surfaces, burnt edges, and wisps of smoke that remain are not merely remnants of destruction; they are the birth of something new, something that carries within it the history of its creation. For his first solo show at N Gallery, Boghossian presents two of his most significant recent series: the Smoke Series, declined as well into the Alternance and Concetto Fumale variations, and the Wave and Volcano Series. While these bodies of work may initially seem disparate, they are deeply interconnected, representing two facets of the artist's exploration of fire and its consequences. The Smoke Series is an exploration of the ethereal and transient nature of smoke. In these works, Boghossian captures the fleeting moment when smoke dances across the canvas surface, using pigment and applying the blowtorch, leaving behind delicate, ghostly traces. The smoke is both present and absent, visible and invisible, a metaphor for the transient nature of memory and existence. These works invite the viewer to contemplate the impermanence of life, the way moments slip away like smoke in the air, leaving behind only a faint trace. For example, in one of the artworks from the Smoke Series displayed at N Gallery, titled Alternance #7 (2024), the subtle gradations of smoke create an almost meditative atmosphere. The piece, created with smoke and pigment on acrylic on canvas, draws the viewer into a contemplative space, where the ephemeral nature of smoke becomes a symbol of the fleeting moments of life — silence become the main element, a silence that embraces the viewers as he breathers the work in. The delicate interaction between the smoke and the surface reveals Boghossian’s mastery in controlling an uncontrollable element, turning it into a medium for profound expression. In contrast, both the Wave and Volcano Series are more visceral, more grounded in the physicality of fire and its destructive power. Here, Boghossian explores the raw, untamed energy of volcanoes, which spew molten lava and ash, reshaping the landscape in violent bursts of activity. The Volcano Series is about the power of creation through destruction, about the way new landscapes are formed from the ruins of the old. These works are a testament to the resilience of nature and, by extension, the resilience of the human spirit. A prime example of this is the artwork titled "Volcano" (2024), a piece in which the intensity of volcanic eruption is captured through burnt mixed media on canvas. The artwork pulsates with the dynamic energy of an explosion, where the textures and colors evoke the molten lava and ash clouds. The force of the eruption, symbolized through the intense application of fire on the canvas, embodies not just destruction but also the birth of new forms—a rebirth from the ashes. While the Smoke Series speaks to the transient, almost spiritual nature of existence, the Volcano Series is a reminder of the primal forces that shape our world. Their dialogic conversation presents a comprehensive exploration of fire's dual nature—its ability to both create and destroy. They are complementary, each enhancing the understanding of the other, much like two sides of the same coin, once again narrating aspects of Boghossian’s complexity. The artist’s use of fire as a medium places him in a unique position within the history of art. While fire has been a symbol in art for centuries, from the flames of Hell in medieval paintings to the fires of industry in modernist works, few artists have used fire itself as a medium. Boghossian’s work can be seen as part of a broader movement that seeks to break down the barriers between the artist and the medium, to allow the medium to express its own inherent qualities. In the context of Korean art, where N Gallery is located, Boghossian’s work resonates with the traditional Korean aesthetics of naturalness and spontaneity. The use of fire and smoke, elements that are beyond complete control, aligns with the Korean concept of 기 (ki) (energy or breath) and 명 (myeong) (brightness or clarity), where the artist seeks to capture the energy of the moment rather than create a perfect, polished object. The unpredictability of Boghossian’s techniques echoes the spontaneity of 수묵화 (Sumukhwa), the Korean ink wash painting, where the flow of ink is guided by the artist’s intuition rather than rigid technique. In relation to Korean philosophy, particularly the teachings of the Joseon Dynasty scholar Yi Hwang, known as Toegye, there is a profound connection between Boghossian’s work and the concept of 리 (li) (principle or reason) and 기 (qi) (Chinese concept for material force or energy). Toegye emphasized the dynamic interplay between 리 (li) and 기 (qi), where the invisible principle manifests through the material energy. Similarly, Boghossian’s art captures this interplay, where the intangible essence of smoke and fire—the 리 (li)—takes form through the materiality of the artwork, the 기 (qi). The traces left by fire and smoke are the visible expressions of this invisible dynamic, embodying a philosophical understanding that transcends the mere physicality of the art. Between 리 (li) and 기(qi), stands a tale of fire. Moreover, Boghossian's work can also be viewed in relation to the global art movement of Arte Povera, which emerged in Italy in the 1960s. Like the artists of Arte Povera, who sought to challenge the commercialism of art by using every day or unconventional materials, Boghossian uses fire—a primal, uncontrollable element—as his primary medium. This choice reflects a desire to return to the basics, to explore the fundamental forces that shape our world, both materially and spiritually. It is however important to state that in his practice, Boghossian doesn’t wish to dominate or control fire, but rather to harmonize with this element. In his work, fire is integrated to the other elemental forces of earth, water, and wind — a balance that one can appreciate, for instance, in Wave #3 (2024), part of the wider series “Wave” inspired by Japanese master Hokusai. In the painting, we are able to connect with the intertwined beauty of fire, water, and the wind, connecting to the harmonical potency of their sublimation led by the vibrant burnt pigments on canvas. Boghossian's art is not only an exploration of fire and smoke but also a meditation on the nature of existence itself. His works echo the philosophical inquiries of existentialism, particularly the thoughts of Jean-Paul Sartre and Martin Heidegger, who grappled with the concepts of being, nothingness, and the human condition. In Boghossian's art, fire is both a metaphor for the existential angst of being and a tool for confronting the void. The act of burning can be seen as an attempt to reveal the essence of being by stripping away the superficial layers, much like Heidegger's concept of "unconcealment" where truth emerges from the hidden depths. By observing more recent works, such as Eruption #16 (2024) or Concetto Fumale #3 (2024) this concept of “emerging” appears clearly to the viewer as an open investigation, capturing a dynamic release of energy in conversation with the silence of the void. Once again, in the Korean context, this conversation takes on added significance. Korea, with its deep respect for nature and its long history of artistic engagement with the natural world, provides a fitting backdrop for Boghossian's work. His art resonates with traditional Korean aesthetics, where the beauty of natural forms and processes is celebrated, and where the artist's role is often seen as one of harmonizing with, rather than dominating, nature. The exhibition at N Gallery offers a rare opportunity to experience Jean Boghossian's work in a setting that is both culturally and aesthetically resonant with his art. The selection of works on display at N Gallery, which includes various new works never shown before such as the Scars series variant Concetto Fumale — an homage to Italian master Lucio Fontana — includes key pieces for a comprehensive understanding of the Belgo-Armenian master. These works, while diverse in their expression, all share a common theme: the exploration of fire as a transformative force: at large, the exhibition invites the viewer to engage with the elemental fundamentals that shape our world. The exhibition presents a powerful meditation on the dual nature of existence. Through the innovative use of fire and smoke, he explores the themes of creation and destruction, permanence and transience. His works, deeply personal yet universally resonant, offer a unique perspective on the human condition, one that is shaped by his experiences of war, displacement, and the search for identity. In Boghossian’s hands, fire becomes more than just a medium; it is a metaphor for the resilience of the human spirit, for the capacity to endure, transform, and ultimately, to create anew. — Valentina Buzzi