Art critic Marina Koldobskaya about the concept:
«…At first glance, his works represent a traditional abstraction - spots, blots, streaks. The point, however, is that the author consistently removes himself, the artist, from the creative process. He does not send his personal message, does not express his emotions - he pours paint and allows natural forces to act: centripetal and centrifugal, gravity and surface tension, diffusion and repulsion. This is exactly how it happened during the creation of the world - lava flowed, waves ran, precipitation fell, stalactites grew, whirlpools swirled, protoplasm clumped into slimy lumps ...
These streaks and blots are not as chaotic as they might seem - the author introduces patterns into the movement of colorful masses , but not with a brush, palette knife, sprayer or other usual artistic tool - he uses natural forces: either he pours paint in puddles, then he allows it to flow freely, or he makes the robot rotate the canvas - in different directions, at different speeds, in a changing rhythm. The streaks of paint are crushed, branched, twisted, spreading streams form the likeness of fractals. For Malkhasyan, an admirer of the great mathematician Benoit Mandelbrot, these picturesque analogues of natural fractals are very important. In the streaks, spots, and swirls of paint in the paintings, either the structures of crystals, or the clusters of cells visible on a microscope slide, or the stalactites that filled the space of the cave, or the traces left by the wave on the sand, are modeled. As well as shoots of primitive plants, fragments of shells and skeletons, clusters of clouds, knots of blood vessels...
In fact, Tigran models the processes of creation, and with the curiosity of the creator, he looks to see if it will turn out well. Or, to put it more modestly, his canvases are a kind of alchemist's cauldron, where, on a whim, reagents are laid, over which the artist conjures by trial and error - in the hope of turning dust and ashes into unfading gold».