Guity Novin: Working

Guity Novin is artist. Explore interesting quotes on working.

Guity Novin: 36 quotes0 likes

“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.”

Source: Negin (1971), p. 57

“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

“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.”

Dialogues on enlightenment and reason (2013)

“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.”

Dialogues on enlightenment and reason (2013)

“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.”

Source: Negin (1971), p. 57

“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.”

Source: Ayandegan (1973), p. 4

“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.”

Source: Ayandegan (1973), p. 4

“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.”

Dialogues on enlightenment and reason (2013)

“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.”

Source: Negin (1971), p. 57

“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.