|Born in Armenia, OninO has always been a first-class painter, but she was unresolved about taking up art as a career choice. But after her time in a particular art institution, OninO set eyes on the artworks of the Russian maestro, Torosijn Vagarshak. This led to a great change in the student who was so motivated by the artistic pattern of Toros (Torosyan Vagarshak) that she started studying art sincerely. One cannot but ignore the substantial and great influence of Toros in determining the vocation of OninO as an independent artist who shows significant artistic quality of her own.
It would be highly unscrupulous to designate the influences of Toros on her artworks as plain replication it was intended as an absorption of analogous stules, brush strokes and developing of one's thoughts that should be brought to the front. OninO, who was specifically enthralled by the interesting and unusual faces of Toros, spent two years learning art under him in U.S.A. By this time, on the other hand, the master was successful in making her comprehend her unique manner and advance her artistic skills through the immense range of her picture.
Any contrast made between a master and a protege cannot be labeled as a simulation of art on either side. It is in fact a comprehension of the artistic talent of each painter in attempting to demonstrate the creative finesse of each while noting of the outside influences of the completed result.
As is anticipated, Torosijn Vagarshak's influence is fairly visible in some of the former paintings of OninO. Though even in the subsequent years she maintains a number of it, it is more during the latter portion of her artistic tenure when we can see the individuality of OninO as an artist. During the early phase, one spots likeness specifically in the depiction of the characters, this includes the same slender faces, with curious facial expressions. A thorough look on another light, shows that Toros's characters are either at times more sensible and at others, completely unusual, while those of OninO's are somewhere in between. Interestngly enough, one gets the impression that her characters are bigger than in reality and more rich and bold in their mannerisms.
One cannot help but discount in both the creations of Toros's and OninO, the highlighting of the diverse 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 paintings), each work of OninO has the characters donning some or the other kind of colorful hat. In reality, all of OninO's hats are remarkable and they get as much attention as the characters themselves.
Both Vagarshak Torosjin and OninO however, retain their influence of Cubism; OninO more frequently than her mentor. Her toying with shapes is very delicately revealed and so dainty that one may overlook it if not viewed with an observant eye. The amalgamation of natural aspects and emotions into all of the paintings is one focal point of both the painters. But while Vagarshak Torosjin exactly maintains barely any traces of feminist elements in his masterpieces, OninO's creations are sated with them.
OninO's preference for romance, match making, celebrations and display of fine living make her pieces have a distinctly dissimilar impression from that of Torosijn Vagarshak, who can be more related with the two edges of make believe as well as realism. Just as in some other areas, both artists are pretty much mismatched in their preference of subject matters.
The daring brush strokes of Torosijn Vagarshak against the more subtle ones of OniO's and alike color palette are on the other hand, individual preferences that come forefront while observing both the painters.
In the description of emotions within the images of their picture, whether funny or sorrowful, love or excitement, resentment or frustration, the two artists display sufficient proof of mastery. It is in this similarity and conversely individual exhibition of creative ability and impressions that both the painters stand their own ground and OninO makes her proclamation as painter of huge caliber quite vividly felt.