The tension between ornament and abstraction—present in Aram‘s canvases—is amplified in his sculptural works, which position ceramic objects on pedestals made of wood, brass, and terrazzo, placed in front of painted linen panels. Blue Backdrop for Minor Arts, 2018, Composition with Fragments, 2017, and Green Movement, 2018, evoke a museum sensibility, wherein linen-lined vitrines are commonly used in displays of antiquities. Geometric abstraction and color field painting, hallmarks of modernism, function here as both the backdrop and framing devices for ceramics. Hierarchies are disrupted, challenging the perceived boundaries between painting and object, fine and decorative art, and forming an interdependence between media and display.