The intellectual, sometimes metaphysical essence of his work is noticeable. Aghamyan's works can hardly be called traditional, they are laconic, sometimes there is some kind of hermeticity in them. The artist searches, explores, analyzes, thinks in a completely unfamiliar system of aesthetic and conceptual values. The world in his interpretation becomes the subject of analytical attention and a kind of expression. But for all its artificiality, this world is correlated with reality, connected with it and inseparable from it. the hero, capable of living in this verified Aghamyan space. The author observes his characters who strive to free themselves from their own personality or choose self-sufficiency as the only form of existence, and comes to the only conviction: his faceless, programmed people want to return to the world of human emotions, where joy and suffering are inseparable from each other. And then this unreal world is again filled with the meaning of human life, and the heroes try to regain the happiness of human communication.

His characters, strangely enough, avoid being personified and therefore only hint at relationships. What is it? Is this approach the concept of a technocratic analyst, or does it remind us of a world where indifference to the essence of the individual reigns? Perhaps the artist strives to understand, or rather to feel the vague outlines of the approaching future and to reveal, to show the contact (as well as the conflict) of a person with the existing reality that holds him with invisible threads, exposes his nerves, forces him to delve into emotional relationships, and more often closes him in. Aghamyan's paintings offer us to find our own key to understanding the poetry with which the author tries to show the connection between the reality around us, ourselves, as well as contacts with the eternal, the cosmic. All this, undoubtedly, requires a certain level of knowledge and perception. His works are definitely devoid of stereotypes.