The Tears of King Solomon: public storage building, 18”x20”(46x51cm), acrylic on illustration board, 2013

Mama Fantomas,12”X 9” (30.5x23 cm) , acrylic on Illustration board, 2006

Hotel Manushak, 12”X 9” (30.5x23 cm), acrylic on Illustration board

Observer, 12”X 9”( 30.5 X 23 cm ), ), acrylic on Illustration board

Space Ship Marlon Brando,12”X 9”( 30.5 X 23 cm ), ), acrylic on Illustration board

Cookie Fashion, 14”X 7 ¾” (35.5 X 19.5 cm) , acrylic on wood panel

The palace of Snow Qween, 14x16, acrylic on wood panel

The Iron Lady, 71.6"x40" (182cmx108cm), acrylic on canvas, 2014

Mall -Theater, 12’x8.5” ( 30.5x21.6cm), acrylic on wood panel

Opera Valmont, 14”X 7 ¾” (35.5 X 19.5 cm) , acrylic on wood panel

Hotel-Fort Jerusalem, 8”X 6” (20.3 X 15.2 cm) ink on paper

Metropolis: Palace Princes Zarmushka, 8”X 6” (20.3 X 15.2 cm) ink on paper

Contemporary Space "Muse", 14x17(18x21), ink on paper

Airport Sopranos, 30” X 23” ( 76 X 58 CM) , Indian ink on watercolor paper

Condom Factory Cheney, 8”X 6” (20.3 X 15.2 cm) ink on paper

Gas Temple, 8”X 6” (20.3 X 15.2 cm) ink on paper

The Eye of Mexico, 8”X 6” (20.3 X 15.2 cm) ink on paper

Smiling Tower, 8”X 6” (20.3 X 15.2 cm) ink on paper

Twin Tower, 8”X 6” (20.3 X 15.2 cm) ink on paper

Theatre "Valmont", 8”X 6” (20.3 X 15.2 cm) ink on paper

Prison in Bagdad, 8”X 6” (20.3 X 15.2 cm) ink on paper

2 Buildings, 8”X 6” (20.3 X 15.2 cm) ink on paper

Hotel "Manushak", 8”X 6” (20.3 X 15.2 cm) ink on paper

Music Center "Evora", 8”X 6” (20.3 X 15.2 cm) ink on paper

Club "Kiss Kiss", 8”X 6” (20.3 X 15.2 cm) ink on paper

Hair Salon "Asadoor", 8”X 6” (20.3 X 15.2 cm) ink on paper

Scientific Center "Queen Bee", 8”X 6” (20.3 X 15.2 cm) ink on paper

Apartment Building "Krivoi", 8”X 6” (20.3 X 15.2 cm) ink on paper

Building "The Tears of The King", 10"x8", indian ink, wash on Stratmore watercolor Paper

Fort "Zangezur", 10"x8", indian ink, wash on Stratmore watercolor Paper

Hostel "The God's Servant", 10"x8", indian ink, wash on Stratmore watercolor Paper

Carousel, 10"x8", indian ink, wash on Stratmore watercolor Paper

The Tongue of Oligarchy, 8"x10", ink pen on Strathmore paper, 2012

Bra Factory, 8"x10", ink pen on Strathmore paper, 2012

Monster Cheburashka, 8"x10", ink pen on Strathmore paper, 2012

Unknown Oligarchic Building "One Eye", 8"x10", ink pen on Strathmore paper, 2012

Police Academy, 8"x10", ink pen on Strathmore paper, 2012

Monument of Gluttony, 8"x10", ink pen on Strathmore paper, 2012

Temple "Obama", 8"x10", ink pen on Strathmore paper, 2012

Patriotic Oligarchic Building, 8"x10", ink pen on Strathmore paper, 2012

The Church of Oligarchy, 8"x10", ink pen on Strathmore paper, 2012

The City of Oligarchy, 12X18, ink pen on Strathmore paper, 2012

The City of Oligarchy 2, 12X18, ink pen on Strathmore paper, 2012

The City of Oligarchy 3, 12X18, ink pen on Strathmore paper, 2012

Bug Space Ship and Flowers, 12”X 9”( 30.5 X 23 cm ), acrylic on Illustration board

Knight Space Ship, 12”X 9”( 30.5 X 23 cm ), acrylic on Illustration board

Space Ship Coco Chanel and Flowers, 24"x18",Acrylic and Indian ink on paper

Space Ship "Miranda" and Flowers, 24"x18", Acrylic and Indian ink on paper

Space Ship "Bird-Woman"and Flowers, 24"x18", Acrylic and Indian ink on paper

Space Ship "Nan"and Flowers, 24"x18", Acrylic and Indian ink on paper

Space Ship "Kisser"and Flowers, 24"x18", Acrylic and Indian ink on paper

“Architectural Monsters,” Samvel Saghatelians’s (Sam Saga) evolving series of drawings, sketches, and paintings, is a study in the phantasmagoric mutation of the human form into architectural monstrosities. As it develops, the series will also comprise sculptures and installations. Saghatelian draws inspiration from the outrageous kitsch emblematic of the nouveau riche, particularly in developing nations, which often manifests itself in newly built palatial residences or commercial towers that scream power, individuality, and a scale that aims to eclipse the rest of the metropolis. In devising the central theme of the series, Saghatelian also taps into Japanese monster myths and horror movies featuring mechanical leviathans. Whereas architecture serves as a concretized expression of a given culture’s zeitgeist – its artistic aspirations, collective concerns, fears, and positioning vis a vis the future – the architectural monsters which Saghatelian references are disconnected from their milieus, pointing at a grotesqueness that both subverts and transcends prevalent values and delimitations. These monstrosities – the human machine bolstered by mortar and steel – ultimately come into being as statements of pure ego, intent on rocking the boat but also wrenching control of it. Saghatelian is interested in seeing the boundaries of respectability and taste being pushed as far as the imagination can accommodate, revealing a fascination with the sheer creativity involved in ostentation, extravagance, and garishness. Thus his architectural monsters can be not only ridiculous and pathetic, but at turns cute and even touching in their folly. Trained as an architect, Saghatelian also explores the possibility of actually building the monsters portrayed on his canvases. Were these human-shaped structures to be constructed in the real world, Saga believes that they would symbolize the essential, prowling monstrosity of the postmodern psyche: a state of sustained loneliness and uncertainty redeemed by selfishness and rapacity, often culminating in an unprecedented level of grotesque chic.