Guity Novin

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Guity Novin in her Studio at Kingston Ontario, 1981

Guity Novin (born April 21, 1944, in Kermanshah) is an Iranian-Canadian painter best known for her style of painting, called Transpressionism.

Quotes[edit]

  • In my opinion, people in our society are becoming like clones. Children are not reading books , and they are not learning by doing. They're just sitting and watching each other be pretty. Like my vases.
    • Etelaat-e-Banoovan,(1971) no 755, Year Fifteenth,Wednesday 15th December.
  • As with respect to viewers, I must say that gallery-viewing is increasingly becoming more of a fashion than a love. Many of the openings have turned into exhibitions of pompousness. Also, there are groups of viewers that enter galleries with their already formed judgments. Amidst all these there are also groups that show absolutely no reaction towards the works, these are the worst. They are neither approving nor disapproving. A smaller percentage constitutes honest art-lovers who ask questions, and their views are worthwhile and they inspire real energy in an artist.
    • Tamasha (1973), No 114. Third year, Thursday June 14th, 1973.
  • Poetical spaces too can be painted like a vase.
    • Setareh-e-Cinema, (1973) Vol. 4, Page 51
  • I never have restricted myself into a frame of a particular technique. My techniques are determined simultaneously along with the subjects of my works. It is similar to the works of a poet, the form of a poem is determined at the same time as its content.
    • Etelaat (1973), no. 14119, Thursday, June 7th, p. 7

Negin (1971)[edit]

Negin (1971), No 77.

  • Some say it appears that painting has come to an end. I say the problem is that the painters' curiosity has come to an end, and this is more observable in the West and not in the East, since in the East there are plenty of untouched and unexplored spaces that could still inspire an artist as sources of creativity.
    • p. 57
  • These days there are painters that go inside a factory in order to be inspired by the noise of machines, so that it affects their works. Of course, artists need sensibility; sensibility towards their environment and their community, but when they are stirred enough by their experiences in their society they can create their art in small studios.
    • p. 57
  • As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first.
    • p. 57
  • Seurat and Signac mixed paintings with the dry and abstract laws of science. This approach, in my opinion, usually strays from the purpose of art in general. Because it means that one cannot expect from an artifact, that is created with mathematical laws, to establish an improbable and irrational relationship between the work and the viewer.
    • p. 57
  • If I were the type of artist that didn't care whether or not my works communicated with viewers then I wouldn't bother exhibiting them, I might as well stock them in a warehouse. But I do exhibit and I do care because I want to communicate back to the viewer what I've viewed. My paintings are inspired by my homeland's traditional spaces. My colors are the colors of monasteries and mosques, the color of ruins of Sassanid and Seljuq era, colors of Bazaars of Isfahan and Shiraz, and colors of northern-Iran's ceramics. I have sensed all these colors, forms and everything within my painting's frame from the viewer's own world.
    • p. 57

Ayandegan (1973)[edit]

Ayandegan (1973), No 77. Tuesday, June 5th, 1973

  • I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.
    • p. 4
  • In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
    • p. 4
  • I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles.
    • p. 4

Dialogues on enlightenment and reason (2013)[edit]

  • I believe any philosophizing about art is absurd and empty. Unfortunately, in the last century a phenomenon has emerged in which the status of “work of art” were granted to many foolish, tacky, and distasteful works as long as they were accompanied by ten or twelve pages of philosophizing justification.
  • It must be said that an authentic work of art needs no philosophical justification. In principle, if Philosophical Treatises could explain a work of art then there would be no justification for the existence of that work art. Put it differently, a work of art precisely enters into the scene when philosophy and other experimental sciences are inept of representing or elucidating an artistic vision.
  • As Amish say "There is a vast difference between putting your nose in other people's business and putting your heart in other people's problems,” and there is also a vast difference between using the ‘grammar of language’ and the ‘grammar of painting’. In a language we have subjects, adjectives, verbs, and so on, and in painting we have light, composition, geometric planes, and lines. It is by using this grammar that one can understand a work of art. This is very similar to Ferdinand Saussure’s, distinction between “la langue” and “la parole” for interpretation of written words.
  • How would you explain Manet’s Un bar aux Folies Bergère? Yes, you may say that the mirror in the back of the barmaid, like Plato’s Allegory of the Cave, shows that the reflections in the mirror are as close as the viewers get to viewing reality, which is mixed up with the inner reality of the barmaid, her reflection in the mirror, and her own picture in front of the viewer and image of Manet himself as the painter and as the creator of that painting in that mirror. Yet we know that this picture cannot be real since the artist cannot simultaneously be painting the picture and be steering at the barmaid in the guise of a client in the picture. Since, if the picture shows the true reality the mirror must reflect the painter performing the act of painting! Explanations like these are, of course, stating the obvious. The truth pf this painting is all revealed at that very moment in which it connects with the subconscious of the viewers. Manet does not want to warn his viewers that “look! I am showing you the illusion of picturing reality in painting”. If he really wanted to give such a warning he would have written such a warning underneath his work, pretty much the same way that Magritte wrote Ceci n'est pas une pipe. But, even Magritte’s warning is not that clear! What is not a pipe, that illustration of a pipe? If so, then that is obvious, and what is the point of stating the obvious? Perhaps Magritte like de Saussure wants to say there is a difference between the pipe as a ‘signifier’ and the pipe as a ‘signified’. As I stated the grammar of painting is different from the grammar of language.
    • Section 3. A Discussion on Westernization and Modernity: Baudelaire and Habermas [[1]]

External links[edit]

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