Beverly Hills Park, CA– Set on the dense, foggy night evening of past fall and nestled in the extravagant and ostentatious neighborhood of Beverly Hills Park, Dr. Simon Ourian didn’t allow his artwork to be covered over the mark field like the fog of the night and organically handed over itself to cover the beauty of the setting. His pieces worked in tandem with the backdrop and allowed it to be the only beauty to be seen. Casts were placed elegantly on a catwalk, each facing different motions of posture with their faces. Some looked out and some seemed to be facing hurt and inward thinking. Other sculptures that glistened in pristine human anatomy, headless, graced over the invitations in colors that demanded attention. Although the celebrity studded attendance drew attention, every one of Dr. Ourian’s figures–including painted portraits of women’s faces–flushed with the influence of emotion, demanded the same attention. We wanted to dive into the brilliant mind behind his notable and famous artwork.
Dr. Simon Ourian, How did you find yourself becoming an artist?
I do not know if I ever became an artist. It was never a single moment. For as long as I can remember I loved painting, sculpting, and creating things. It has always been a part of who I am, not something I decided to become.
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What inspires your art? What themes in life have shaped your work?
I do not think there is a formula for art. Sometimes I see something I like or something that inspires me, but more than anything I feel the world around me constantly changing and I want to be part of it. The way I know how to be part of anything is through creating. Sculpting, painting, and even simple sketching allow me to participate in the world in a meaningful way.
Most of the time I doodle on any piece of paper I can find, even a napkin. Out of fifty little sketches, one might feel interesting enough to become a sculpture or a painting. Even then the idea keeps changing. I adjust it hundreds of times. With clay, especially, it is easy to reshape and refine until the piece becomes what it wants to become.
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Can you tell us about your creative process from concept to completion?
My creative process changes depending on the time in my life. I have a very busy life, and I use art as my escape from reality and as a way to organize my thoughts. Some people write to clear their minds. I create. Art has always been meditative for me. I am fortunate that this meditation leads to something real and tangible, and a piece comes to life that feels meaningful.
I am also my biggest critic. I want the work to be validated and I want it to create emotion in others. I would be lying if I said my art is only for me. I hope people feel happiness, calm, or joy when they experience it.
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What does your daily or weekly schedule in the studio look like?
I work in long blocks of uninterrupted time. My week is a mix of planning new pieces, sculpting, refining, and allowing space for inspiration. I protect my creative hours because they help me reset and reconnect.
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What tools are essential to your work?
My most important tools are my hands, my imagination, and silence. Of course I rely on materials like resin, metal, clay, and the techniques I have developed, but without focus and intention none of it means anything.
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When did you realize you were a professional artist and what does that mean to you?
I realized I was a professional artist when I saw that my work had its own life and people connected to it. To me it means staying honest, staying committed, and respecting the responsibility that comes with creating something that becomes part of someone else’s life.
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How has your work evolved over time?
My work has grown with me. It has become more refined and more symbolic. The meaning has changed too. At first I created to express myself. Now I create to connect with others and to reflect the world we share.
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What challenges have you faced, and how do you handle creative blocks?
The biggest challenge is balancing perfection and progress. Creative blocks happen, but I work through them by stepping away, living life, and returning with a clearer mind. Sometimes the break is what the piece needs.
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Have you collaborated with other artists? Who would you like to collaborate with?
I like to collaborate with grand architects because their form of art is powerful, noticeable, and awe inspiring. I have worked with developers and major events around the world. Being an artist often comes with ego, but I have learned that I prefer to be a channel of creativity rather than pretend I am the source. I do not believe any of us are the true source. At best we channel something greater. You can call it God or the universe, but the creative force moves through us.
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What advice would you give to other artists and to your younger self?
Stay committed, stay curious, and protect your vision. Trust the journey and understand that every struggle becomes part of your story.
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Do you have a favorite piece of art?
I do not have a favorite piece. Every time I part with any of my art, I feel the same sadness. I know I can never recreate that exact work again. Each piece reminds me of the moments and emotions I had while making it. Many were created while my family watched or were involved. Every artwork holds a personal story, and that makes it impossible for me to choose one over another.
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How do you know when a piece is finished?
I never feel my artwork is finished. Even when it is framed and hanging on a wall, I still see things I want to change. With sculptures I think about new finishes and new details. I only stop when the material no longer allows changes. With clay, once it dries, that is when I am forced to let go. My indecisiveness about when to stop and my obsession with every detail make the process long, but that is also what makes the work honest.
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How would you like you to be remembered?
I do not think about that much. I hope the people I love remember me as someone who made a positive impact on their lives. I hope they feel that I brought joy, comfort, and peace into their world.
