"Arbol de la Vida": by Vahé BerberianRecently I attended the opening reception for contemporary Armenian artist Vahé Berberian's latest collection of paintings, "Involuntary Laughter". The visionary abstract expressionist has once again produced a series of thought-provoking paintings.

The title "Involuntary Laughter" might imply entertainment or triviality—a would-be departure from Berberian's style. Armenians, as Berberian has been noted to say, tend towards seriousness. Indeed, many of his earlier paintings have a solemn, dark overtone. In contrast the works in the "Laughter" exhibit are almost effervescent. Did he draw the title from his own life experience as a celebrated monologuist and comedian in the Armenian language?

Of "Involuntary Laughter" the artist explains: "It happens on the stage, it happens during funerals, it happens when you slip and fall...and it's the kind of laughter you can't hold back or control. It's the kind of laughter you remember years later and laugh again. It's the orange in my whites.

"I think I am getting to a point where, finally, I don't know what I am doing, and it feels good to let go. The older I get the younger I am becoming, and subsequently the more whimsical my canvases."

the painter as performer: Vahé BerberianBorn and raised in Beirut in an intellectual milieu of artists and writers, Vahé Berberian came to the States in 1976 and started out as a journalist and writer before turning to painting and later performing.

In typical Berberian fashion, "Involuntary Laughter" is a show that exhibits his minimalist leanings. The open and austere arrangements of his paintings leave much to the imagination, and while his use of structure and shape are undeniably spare, he achieves this without sacrificing sophistication, boldness and his usual aura of mystery. In keeping with the Berberian mystique are the reappearance of numbers, letters and words (both in English and Armenian script) that have been displayed in his older works.

Berberian's edginess and show of raw emotion that patrons have come to expect is ever present. To observe his work is to witness his emotional process, his relationship with the world around him. We are challenged to empathize and understand, or to simply appreciate (or not) the result of his efforts.

To extrapolate from this collection, Berberian's current outlook may well be less serious, which could explain the dazzling yellows and great expanses of luminous whites. As for his customary scattering of numbers, letters and words, they appear to be a bit more spontaneous—playful even.

For example, "Arbol de la Vida" (Spanish for "tree of life") suggests optimism and joy, as do "All is Well," "Abris" (Armenian for "bravo!"), and "Batchig" (Armenian for "kiss"). The painting plainly entitled "K"—rich in shades of burgundy, burnt orange and black—however, is more reminiscent of his earlier work.

For many, and certainly for me, Berberian's art tends to evoke strong emotion. I can't say that I involuntarily laughed while browsing the new collection, but I did enjoy taking in the unveiling of Berberian's artistic evolution.

"Involuntary Laughter" is on display at Chryssanthou Art and Design, 612 N. Robertson Blvd in West Hollywood through September 4, 2010. To find out more about the artist, visit his site.

Mischa Geracoulis is an interviewer, essayist, reviewer, and editor in Los Angeles and frequently writes on Greek and Armenian cultures.