Lilit  Sargsyan
An artist’s way is an everlasting Search. For Yevgine, it is not only a search for the language or the style, but first of all it is an internal spiritual effort and a search for herself. If we try to track Yevgine's creative transformation from symbolized-decorative biomorphic forms into the abstract, we will see her way of Searching in fact was a process of gradual Refining.
For the artist, the search of reflecting ways of macrocosm in microcosmic knots would naturally lead to universal forms and pure color, where the self-reliant significance of the light obtains special importance.
Discovering an aesthetic kinship with the stream of post-war minimalist abstract art, formulated in the 1960’s as “Monochrome”, Yevgine's art, anyway, is quite different. The appearance of color-forms here initially comes from the theory of Neo-Impressionism and, on the other hand, is flavored with propensity enlivening towards biology and sensitiveness. The amazing color hues, rhythmic duplications of brush-strokes (or rather, "brush-cells"), and their explosive diffusing dynamics synthesize principles of divisionism along with a meditative contemplation on Yevgine’s canvas. Her colors are as celestial as they are terrestrial. This is the color of the nature. The classic entity of Nature-Human being-Universe is an esthetic starting point for the artist: certainly full of pantheistic sigh her creations of emphasized harmony are. But it doesn’t reveal edges linking Yevgine’s pantheism to the objective of modern (abstract) art’s core recognition possibility. Gottfried Boehm, reflecting on the hermitic side of abstract art states: "…this (abstract) art is a yearning authentic recognition of the reality. …That turnoff in history of art … considers a gradual renunciation from the principle of imitating the nature, which, for centuries, has been continuously considered as a base for art. Instead, the self- reflex function has emerged, as mandatory norm. Art history has matured through the imitation of the reality - the "mimesis" towards the discovery, the "poesis". The artist's recognition of feeling unique artistic assets, flexibility of the expressive language and her own experience become the factors that form the base for creation and the criteria of its significance. Undoubtedly, the act of enlightening is concentrated in it: released from shackles that Modernism would never regain again – as soon as it has been established already. […] The ways of sensual perceiving and, henceforth, the recognition item itself are defined by the artist within the framework of their internal correlation and variable terms.[1] Therefore, exposed in the practices of Modernistic paradigm, Yevgine's art creates a unique reality, as reflective and suggestive as cognitive it is.
The successive part of the objectives relating similar abstractedness refers to the “perceptia,” the specifications of optical perceiving and reflecting. As far as Yevgine's painting is concerned as a link with Impressionism, it should be emphasized that the impressionists were even occupied with that "Eyesight and visible reality integrity objective: their pictures are full of that turnover of reality, where everything "collocated in us " is being completed with anything we see due to that internal eyesight as something located out of us. The historical significance of Impressionism was in revealing that very correlation, whereas the category of "impression" conditions the conceptual manifestation of that discovery  ".[2]
Undoubtedly, being in search of herself through her own works by tracking the soul and sense streams, the artist is ought to see a unique meaning in fundamental objective of the light. Yevgine's color-spot is the substance carrier of the light. According to Jef Verheyen, "To see means to feel with eyes. The difference between essential attitude towards the light and former imaginations is that the light formerly was perceived as "eyesight", and now I see it as "sensation".[3]
As for the light, color, spot, eyesight and sensation synthesis in Yevgine's  art , we  can't disregard this ever-joining of Love and Emotion. The emotionality, even if it is a spiritual anxiety, is mollified when meeting the canvas surface. In her last works, she demonstrated a transcendent meaning of emotionality, as her painting consolidates personal emotions with holistic philosophical comprehension. After all, Yevgine's meditative painting is nothing but a trajectory of emotive energies.n