Inside the triptych, each painting has a specific name, which identify precise geographical places and which, following one another, trace a geo-temporal path that covers some of the darkest pages in the history of the Armenian people. Starting from Sis, a historic city and religious center of Armenian Christians which subsequently declined in the 15th century following various foreign occupations. Deir el-Zor instead takes us to events much closer to us, being a location in the Syrian desert where the death marches ended during the famous genocide of the early 1900s. Ararat differs from the chrono-geographic discourse, being it the mountain complex identified as the landing site of Noah's ark at the end of the flood, then symbolically becoming the resting place of the victims of the genocide. The triptych therefore exemplifies, recovering the Greek-Roman myth of the Fates, the diaspora of the Armenian people. However, the mythological reference is limited to a formal quotation, since the theme of spinning is linked to the Armenian textile tradition, highlighted by the bottom of the first table (Sis) depicting a carpet (Lori Pambak). The same is then re-proposed in the second painting, (Deir el-Zor) however reduced to pixels and therefore almost unrecognizable, to arrive in the last one, (Ararat) to a black space, on which the verses of the Armenian poet Daniel Varujan stand out, victim of genocide.
“This is the hour, my soul, which is alone like the cicada
you rest on the peaks;
than in uncorrupted stillness
you get inebriated with your singing
like the sun of its light, alone with its light.”