Artist Spotlight: Ani Mesropian

Meet Ani Mesropian (she/her), a Teaching Artist and muralist with Urban ArtWorks whose journey with the organization began in 2021 through the recommendation of friends., Ani brings a deep sense of empathy, cultural awareness, and authenticity to her teaching and projects.. Whether she’s guiding students in exploring their identities through art or co-creating murals that reflect diverse stories, Ani fosters spaces where young artists feel empowered and seen.

We are celebrating MENA (Middle Eastern, North African) Heritage Month and wanted to share Ani’s powerful perspective that she brings to the classroom and her art. Ani Shares that through Urban ArtWorks she was chosen to collaborate on a mural with immigrant/refugee youths within the Washington Refugee and Immigrant Youth Advisory Council a few years ago, she had this to say about that experience;

“This experience sticks out because as a former refugee/immigrant youth I never had a community of others like me, nor teachers that reflected this background. The majority of the youth artists were of MENA (Middle Eastern, North African) descent as well. It was a unique and special experience to feel both a cultural resonance with so many of my students and also absorb how non-monolithic the immigrant/refugee experience is. These are unique journeys for all, and it reflects in the art.”

We caught up with her to hear more about her work, inspirations, and the powerful role art plays in community and self-expression.

1. How did you first get involved with Urban ArtWorks?

Mutual friends shared the opportunity with me to work for Urban ArtWorks back in 2021. I started out teaching in a high school in an after-school art and mural creation program and also co-taught as an assistant teacher during many of the summer programs.

2. Can you share a memorable moment or experience you’ve had working as a Teaching Artist with Urban ArtWorks?

Through Urban ArtWorks I sought to collaborate on a mural with a group of immigrant/refugee youths within the Washington Refugee and Immigrant Youth Advisory Council a few years ago.

This experience sticks out because as a former refugee/immigrant youth I never had a community of others like me, nor teachers that reflected this background. The majority of the youth artists were of MENA (Middle Eastern, North African) descent as well. It was a unique and special experience to feel both a cultural resonance with so many of my students and also absorb how non-monolithic the immigrant/refugee experience is. These are unique journeys for all, and it reflects in the art.

It made me so happy to see how joyful and self-assured all the youths were in their community of others both like and unlike them within what it is to be an immigrant, a refugee, or both.

3. What stands out to you about collaborating with youth artists on a public mural?

Giving youth artists the agency to devise and create their own artistic ideas is powerful. Youths are not often given agency across domains and the way that the arts can be that for them always sticks out to me. I can see their creative and overall confidence grow.

4. How do you encourage your students to express their identities and voices through their art?

I ask that youth artists create art from a place of following their unique vision/experiences and not see art in the categories of “perfect/good/bad” art. I feel as long as you chase after your unique style rather than an idea of “perfection” you will be making authentic original art that reflects you completely. Memories and experiences are inherently cultural as well and these can be inspiration for various art projects.

5. How do you approach representing communities and their stories in your artwork while incorporating your personal experiences and emotions?

When I have collaborated with communities I like to demarcate space for everyone to contribute equally according to their desire. I also like to represent myself through design elements that are subtle but rooted in my ethnic Armenian creative roots.

6. Why do you believe public art is important for communities, and how does it function as a medium for social change and raising awareness?

Public art, beyond being absolutely stunning and visual enrichment to any city–has great power to bring communities together, to highlight issues for all to see, and spark debate and change. Murals often reflect the cultures of the community they belong to, and what is important to them–a consensus among many is a process of public art–this coalescing can bond the community together towards a cause.

7. What advice would you give to youth artists who want to pursue art professionally?

Chase your unique style, don’t chase “perfection”, don’t label any of your art as “bad” (yet).

8. Are there any upcoming projects or collaborations you’re particularly excited about?

I am excited to drop my first studio recorded album as a songwriter. I am working on a few video projects involving super 8 film. I also have some recently completed large ink painting works on paper pieces I am finally submitting to some gallery shows as well.

9. How do you celebrate and represent your culture through your art?

I make paper Khachkars, which are a threatened Armenian art form usually involving carved stone tombstones decorated with stories or important symbols. My Khachkars are on paper because tens of thousands of stone Khachkars of antiquity have been intentionally destroyed due to being nearly immovable in their stone state. With paper, my Khachkars are strong in their fragility. They can be moved and preserved in ways that make stone vulnerable. This is a celebration of how Armenians mourn and a type of artistic triumph over cultural genocide.