Born in Armenia in 1978, OninO has always been a first-rate painter, but she was unsure about embracing art as a career preference. However, after her stint in a particular art school, OninO set eyes on the works of the Russian maestro, Toros. This triggered a great change in the woman who was so influenced by the artistic genre of Toros (Torosyan Vagarshak) that she began studying art seriously. One cannot but ignore the ample and enormous effect of Toros in shaping the vocation of OninO as an independent painter who displays immense artistic talent of her own.

It shall be pretty unreasonable to dub the influences of Toros on her paintings as plain imitation it was meant more as an imbibing of analogous systems, brush strokes and changing of one's thoughts that must be brought forefront. OninO, who was particularly captivated by the exciting and peculiar faces of Toros, spent two years learning art under him in U.S.A. By this time, on the other hand, the mentor was triumphant in making her understand her unique style and widen her creativity through the vast variety of her picture.

Whatever contrast made between a master and a protege cannot be considered as a simulation of art on any party. It's in fact a comprehension of the artistic competence of each artist in attempting to show the creative elegance of each while remarking the outside influences of the completed result.

As is anticipated, the influence of Vagarshak Torosjin is quite apparent in some of the previous art pieces of OninO. Although even in the later years she keeps some of it, it's more on the latter half of her creative tenure when we can note the eccentricity of OninO as a painter. During the early period, one sees similarity specifically in the portrayal of the characters, this includes the similar constricted faces, with curious facial expressions. A good glance on the other hand, shows that Vagarshak Torosjin's characters are either at times more pragmatic and at others, totally uncanny, while those of OninO's are somewhere in between. Interestngly enough, one gets the impression that her characters are bigger than in reality and more magnificent and daring in their mannerisms.

One cannot help but disregard in both the art pieces of Vagarshak Torosjin's and OninO, the stress on the diverse types of hats that the characters wear. While the faces of Toros are lacking in hats (though the characters do don a hat in the other masterpieces), each artwork of OninO has the characters wearing some or the other type of glitzy hat. In truth, all of OninO's hats are interesting and they attract as much attention as the characters themselves.

Both the artists on the other hand, retain their influence of Cubism; OninO more frequently than her mentor. Her toying with shapes is so delicately shown and so fine that one may miss it if not viewed with an observant eye. The fusion of natural factors and emotions into all of the paintings is one focal point of both the painters. But while Torosijn Vagarshak exactly maintains scarcely any traces of feminist tendencies in his works, OninO's works are sated with them.

OninO's preference for romance, match making, celebrations and display of wealthy living make her works have a specifically different aura from that of Toros, who can be more related with the two limits of make believe and realism. Just as in some other genres, both painters are somewhat uneven in their choice of themes.
    
 The daring brush strokes of Vagarshak Torosjin as opposed to the more subtle ones of OniO's and alike color palette are on the other hand, private preferences that come forefront while viewing both the artists.

In the depiction of emotions within the images of their canvas, whether comical or gloomy, affection or obsession, rage or frustration, both the artists expose abundant proof of mastery. It's in this likeness and conversely unique display of creative ability and impressions that both the artists make their own ground and OninO makes her assertion as painter of huge caliber quite intensely felt.