This series reclaims pre-Christian Armenian goddesses through large-scale watercolors that merge drawing, historical research, and feminist narrative. By reviving these erased figures, I challenge both patriarchal and colonial erasures that shaped Armenian identity.

Working with watercolor at this scale demanded technical risk. The medium’s unpredictability—its tendency to stain, bloom, or dry too quickly—required active negotiation. I treated this as a dynamic drawing process: a dance between control and chance. Each mark, stain, and layer was intentional, creating depth through transparency and pushing the limits of line and wash.

Innovative use of scale amplifies imposing presence, while the watercolour medium preserves ethereality. Historical references—like Naneh’s rifle modeled after real female fedayi—are drawn with accuracy. Surrounding elements—such as dragons, roots, mountains, and celestial orbs—act as visual myths that echo their original attributes and extend them into the present.

In this series, drawing is redefined as both ritual and resistance: a space where ancestral memory meets experimental mark-making.