« One way or another, the idea emerges of the same universal viewing situation: a framed piece of reality is different from an unarticulated, wild, simple one. The house gives this point of reference: the notorious rectangular superstructure now becomes first of all a frame, and ESSAIAN begins to paint a universal landscape "for this frame." Of course, this landsca­pe cannot be universal in its content, so to speak; what can be universal is the aim itself, the impression. And ESSAIAN paints versions of this impressionistic landscape, articulating just this moment in the temporal regime of painting which is able to "keep pace" with impressions. »

                                                                                                                                         Alexander Borovsky, 2006

"House" and "Views" (series of 10 works)