Arman Galstyan (b. 1994) is a Polish-Armenian multidisciplinary artist whose work centers on memory, uprooted identity, and the ways in which experience becomes visible. In his painting, he draws on familiar places, domestic interiors, and family relationships, perceiving in them not only a trace of experience but its fragmentary remnants. It is precisely through what is incomplete, absent, and unsaid that he reflects on belonging, inheritance, and the construction of subjectivity. His artistic practice creates a space in which seeing is relational, and identity remains a process in constant becoming.

As the son of refugees, he attempts to reconstruct a personal history under conditions of disrupted continuity. In the absence of a living tradition rooted in his heritage, he seeks to position himself at the intersection of cultural tectonic plates. His paintings bring together memories, observations, and emotions, preserving what is fragile and intimate. Galstyan treats his immediate surroundings not only as a subject matter but also as a site for the production of meaning and a tool for describing reality.

The artist explores the overwhelming sense of being the Other and the gazes that carry with it the need for classification and judgment. Drawing on personal experience, he also addresses the broader dimension of otherness as an element shaping autonomy from dominant approaches to viewing. Grounded in what is familiar and seemingly ordinary, Galstyan’s paintings become subtle visual notes from everyday life and an attempt to find continuity between family memory and contemporary experience. In relation to the viewer, his works create a situation of reflected gaze, drawing the spectator into the circulation of looking and its consequences, in a sense compelling them to assume part of its weight.

He lives and works in Warsaw. His works are held in private collections in Poland and abroad. He graduated from the Academy of Fine Arts in Warsaw, where he completed his MA diploma project, Armenia, I Love You, under the supervision of Mirosław Bałka and Paweł Susid.