User talk:Artaxerex/ Guity Novin

Guity Novin (born Guity Navran, 1944) is an Iranian-Canadian figurative painter, and graphic designer residing in Canada. She classifies her work as Transpressionism, a movement she has introduced. Her works are in private and public collections worldwide.

She has served on a UNESCO national committee of artists.

Life and work
Guity Novin was born in an educated middle class family in Kermanshah, Iran. Her father Abdol-Rahman Navran was the only son of Abodl-Rahim, a ship owner and sea merchant in the northern Iranian port of Anzali (Bandar-e Anzali) in the Caspian Sea. He traded between ports of Baku, Lankaran and Astara in Azerbaijan. In the early 20th century the Caucasian region became a major geostrategic center and became one of the important theaters of the World War I. . After the October Bolshevist coup and civil war in the former czarist Russia, the Red Army conquered Baku in 1918, the navy of White Army took refuge in the Anzali Port, which was under control of British force. The Red Navy conquered the port of Anzali in 1921 and confiscated Abdol_Rahim ships. These events financially ruined Abol-Rahim, he lost his capital and his business collapsed. Seeing no prospects of recovery, the young desperate businessman committed suicide. His young son Abdol-Rahman was raised by his Navran grandparents, and was separated from his young mother, who soon was remarried and gave birth to another son Djavad Bani-Yaghub. After finishing high school Abdol-Rahman had to find a job in order to be independent. He was offered a post at the Iran Customs, and was sent to work at its branch office in Ghasr-e Shirin, a border post with Iraq. Abdol-Rahman who learned to play accordion, spent his weekends at Kermanshah, where he fell in love with a sister of one his colleagues, a local beauty by the name Molook Kashefi. Soon after they met, he proposed and she accepted. Together they had four children, Guity, who was the eldest, Kamran, her brother, and her two younger sisters Jaleh, and Jila. Meanwhile, Abdol-Rahman brought his mother and his younger brother to live with him. His mother never left him again.

The formative years 1953-1970
In the spring of 1953, the Navran family moved to Tehran. Those were tumultuous years for Iran, the nationalist Prime Minister, Dr.Mossadegh, had nationalized the oil industry in 1951, and now the confrontation between Iran and Britain have escalated to the extent that the Iranian government refused to allow the British any involvement in Iran’s oil industry, and Britain was making sure that Iran could not export any oil. Mossadegh had stopped negotiations with Anglo Iranian Oil Company [AIOC] and the British government had announced a de facto blockade of Iran and reinforced its naval force in the Persian Gulf and lodged complaints against Iran before the United Nations Security Council. In the November- December 1952 period, British intelligence officials suggested to American intelligence that Mossadegh should be ousted. The new US administration under Dwight D. Eisenhower and the British government under Winston Churchill agreed to work together toward the prime minister removal. In March 1953, US Secretary of State John Foster Dulles directed the US Central Intelligence Agency (CIA), which was headed by his younger brother Allen Dulles, to draft plans to overthrow Mosaddegh. On 4 April 1953, CIA director Dulles approved a plan to oust Mosaddegh. The plot, known as Operation Ajax, succeeded and Mosaddegh was ousted. During these turmoils, the young Guity was hearing an array of disturbing news without being able to make any sense of them. For instance, she overheard from adults that the head of Police had been kidnapped and was tortured to death, this had frightened her enormously.

Guity was sixteen years old that her art teacher at Asadi High School in Tehran noticed her talent and suggested to her that she should apply for admission to the Girl's College of Fine Arts in Tehran. She was admitted there and was graduated in 1965. This was an important steppingstone for being admitted to the Faculty of Decorative Arts in 1970. About her academic experience, later on she wrote:

I did my undergraduate studies during the late 60s. In those days there predominated in academia a definite penchant for modern and post modern arts. My professors were mostly young Ph. Ds from Europe and North America who admired, and encouraged students to admire, artists like Kandinski, Miro, Mondrian and later on Andy Warhole among others. There thrived a culture that scorned figurative painting and representational arts. What mattered in arts was the appearance that could provoke a reaction from the observer. Beauty and the judgement of delight in the beauty were considered tolerable concerns; but the judgement about the generality of delight in the object was dismissed on the ground that it would lead to vulgarity. They questioned the validity of the painting as the artwork and used a plethora of pejorative adjectives such as archaic, stale, or sterile to describe any kind of painting.

Decorative paintings were regarded as insipid, and any further experiment with impressionists' techniques was deemed futile. Since my undergraduate grounding at the Girls College of Fine Arts transpired from a philosophy that took painting very seriously, it was viewed as a liability, and therefore my academic projects had to do without, almost, any traces of technique, harmony and composition in order to be judged among the `avant-garde' works. I came by many `two-with-mention' marks for projects that included: gluing an old basketball shoe to a black canvas and pouring red industrial paint over it, discolouring a canvas by subjecting it to a slow electrical heat from the back and a number of other abstract happening projects. Later on, I noticed that the same kind of attitude prevails among many bureaucrats in charge of evaluating art works for various public or private institutions. These mandarins usually came to be excited from a piece that was provocative or irritating in appearance, and procured it for their institutions. This encouraged many enterprising individuals to produce irksome objects that were usually mundane and frivolous.

After her graduation, Guity married Farid Novin, an economist, and she mothered three sons Saladin, Alamir, and Alishah.

Early period 1970-1976
After graduating from the Faculty of Fine Arts with a BA in graphic design, Guity Novin was employed as a graphic designer in the Department of Graphic Arts at the Ministry of Culture and Arts (MCA) in Tehran, in 1970. However, as the first female graphic designer she immediately was confronted with various barriers and adversarial relationships. All the important posters were designed by the head of the department, who had at his disposal the services of many calligraphers, drawers, and other designers. Guity responded by creating her innovative posters outside the ministry and in the private sector. The young film makers of the Free Cinema of Iran, under the management of Basir Nasibi, asked her to design the cover of their first two books, as well as some of thier posters. Pretty soon her posters and line drawings was reproduced on the cover of cultural magazines, such as Negin. She also began to design the cover of magazines like Zaman, Negin and various literally periodicals such as Chaapar, and Daricheh. Fortunately for Guity, the late Hajir Darioush, a young new wave director of cinema, was assigned as the president of First International Film Festival of Tehran which was head quartered at the MCA. Noticing Guity's works, Darioush invited her to join his team, and Guity produced the catalogs and posters of the festival.

Exhibitions of paintings, 1971- 1976
Between 1971 to 1974, Guity exhibited her paintings in three solo shows: Expression of Silence, inspired by the poems of Omar Khayyámin the Negar Gallery in 1971, Posthumous; a journey to the poetical spheres of Ahmad Shamlou in 1973, and Tana Naha Yahu: Songs of Dervishes in 1975 inspired by the poems of Rumi. In addition she participated in numerous group exhibitions such as the Women artists exhibition during Asian Games of 1974. As well, She exhibited in the Salon d' autumn, Paris.

Reviewes
Mansooreh Hosseini reviewed Expression of Silence:

Expression of Silence I like this title. Not because I see a relationship between the plastic art and poetic art. But, because "still lifes", things, flowers and so on can, in spite of their lifeless beings project sorrow, peace, melancholy, or serenity.

I asked the lady who was perhaps the warden or the manager of Negar Gallery where’s the painter? “She seldom shows up” She replies…

And those urns, paintings of Guity Novin, hanging on the gallery walls, were expressing the silence. They were painted under the influence of the Parisian school of Pointillism and Divisionist technique. They reminded me of Signac style. Although in contrast to the practice of the early pointillists, the artist blends pigments on her palette, with a sharp edge in olive color, another wider one in sandy brown, and yet another sharp brush stroke in dark brown to define the shadowy surface of her urns.

In choosing her motifs one could detect a consistency which attested to artist’s enlightened and perspicacious character. The choice of colours, selection of gradation of hue, which explicitly used more-or-less the same tonality in all the works, revealed the story of artist’s unfaltering and inquisitive mind. Firoozeh Mizani interviewed Guity for Tamasha: Our interview with her shed light to the fact that the painter had a sincere attempt to explore the poet images, and the poet himself have attested that she has succeeded in her endeavors. Guity says: when I decided to work on poems of Shamlou, the fear of not succeeding in conveying his poetical spaces, and of observers judgment that I have abused Shamlou's fame to attract publicity was always with me. But, after a while I realized that the poetical spaces can also be painted like a vase. Anyhow what is painted is a feeling and the power of brush. I have tried, to the extent that was possible, to depend on the poems and yet create a distinct character that in its isolation from poem has something to say... I ask her about her motives in choosing her colour schemes, and she says: Although my color compositions are in the same tonality, yet they are different and distinct. None of the different blue hues are similar to other blues but if you are asking about their relation to poetical spheres, I have to say that this is my sense of Shamlou's poems, and my own psychological state of mind or personal judgment have not impacted the color composition of the paintings.

European period, 1975-1980
In 1975 Novin moved to The Hague, Holland, studied at Vrije Academie voor Beeldende Kunsten, and exhibited in 1975 at Noordeinde Gallery. She named ths exhibition Melodious Spheres. She moved to Manchester, England, in 1976, exhibited her "In Essence" show at Didsbury Library and was selected in 1979 for the E.C.A Exhibition at National Theatre, London. She also participated in several group exhibitions.

Early Canadian period, Kingston, Ottawa, and Montreal, 1980-84
In 1980 Guity settled in Kingston, Ontario. Her first exhibition in 1981 at the Brock Street Gallery in Kingston was called Lost Serenade. The Whig-Standard magazine, published her work "Flute Player" on the cover its October 3rd 1981 issue, and Don McCallum reviewed it in the same issue. He wrote:

The oil paintings of Guity Novin, whose exhibition Last Serenade opened Monday evening at the Brock Street Gallery, shows the influence of her artistic heritage... The artist uses the natural colors of the Persian scene, the turquoise of the mosques, the intense blue of the sky, the reddish brown of the old clay cities., and Frank Berry wrote: The paintings of Guity Novin are steeped in ancient tradition. The philosophical underpinning of her work is the intense experience of divine, of the human, and of human emotion. It is the home from which we in the west have long ago strayed.

During this period she also exhibited at galleries in Ottawa, Montreal, and Toronto.

Ottawa period 1984-1997
Guity spent 1983 in Montreal, and then in 1984 she and her family relocated to Ottawa, where she worked and exhibited until 1997. With a couple of her artist friends, including Raku potters Huc Wee and Adrianne Lamoreaux, Novin established the Artex Gallery at the Byward market in Ottawa where she painted and exhibited her works. At the same time, she started to produce graphic art drawings for the Breaking the Silence, a feminist periodical. Her illustrations were published in Le Carnaval de la licorne (2001). , and her work Pears in Blue was published in Abnormal Psychology. . Chapters bookstore exhibited her works in their main bookstore in Ottawa in 1995, and she participated in the National Capital Fine Art Festival at Aberdeen Pavilion, Landsdown park in March 1996.

Vancouver period, 1996 onwards
Guity Novin moved to Vancouver in 1996. She worked and exhibited as a resident artist in the Guthenham Gallery in Grenville Island during 1997-2000. From 1996 onwards in a series of shows, she called her style as Transpressionism, and viewed it as a new initiative in art. Solo shows in this period include The Bliss of Solitude (2004), And Yet the Menace of the Years Find, and Shall Find, Me Unafraid (2006), and Whispered of peace, and truth, and friendliness unquelled (2007) (All at North Vancouver Community Arts Council, "Art in Garden"). . She also participated in a number of group shows, including two shows at the Ferry Building Gallery in 2006 and 2008.

Graphic Designs
Guity novin worked as a graphic designer. She has created posters and magazine covers in Iran during the 1960-70 period. She illustrated the covers of magazines like Negin and Zaman; and the publications of the Free Cinema of Iran. She was also the graphic designer of the First Tehran International Film Festival. In Ottawa her illustrations were published in the Breaking The Silence Magazine during 1980s

Transpressionism
Guity Novin founded Transpressionism in 1994 in opposition to High modernism, aiming to interpret humanism and acroamatics values with aesthetic notions of beauty, harmony and transcendence. It counters what is perceived as the deathtrap of the artificiality of postmodernism by seeing art as a birth, where the viewer must be involved in the creation of the sublime. The artist's role is as a conduit for the observer’s imagination, where "Love" is the fundamental principle giving coherence to an otherwise random physical and psychic universe. To achieve this, Transpressionism makes use of legends and myths such as Clytie, a maiden who loves the Sun-god Apollo and is transformed into a sunflower.

Novin explained her motives for introducing Transpressionism:

I did my undergraduate studies during the late 60s, where a definite penchant for modern and postmodern art predominated in the art academia. ... There thrived a culture that scorned figurative painting and representational art. What mattered in art was an appearance that could provoke a shock reaction from the observer. Beauty and the judgement of delight in beauty were considered tolerable concerns; but the judgement about the generality of delight in the object was dismissed on the ground that it would lead to vulgar. The critics questioned the validity of painting as an artwork and used a plethora of pejorative adjectives such as archaic, stale, or sterile to describe any kind of beautiful painting…. In my Transpressionism works the main emphasis is on the composition, and the harmony of curved spaces which in their dynamics introduce a unifying possibility... Like Kant, I strongly feel that the beautiful is what pleases because it can also pleases others, and therefore taste occurs only in society, and that in every case of beauty particularly in painting the object must please in itself through conceptual reflection, and not through impression. So I think the preamble to Transpressionism manifesto should include the following: 'In painting, sculpture, indeed in all formative arts...in so far as they are beautiful arts, the composition is what is imperative. It is not delight of sensation which establishes the foundation of any characteristic of taste, but entirely what entices through its form.'

Artists identifying with Transpressionism include Fer Veriga (Brazil), Irina Kupyrova (Ukraine), Diana Zwibach (Yugoslavia), Terri Baugh-Norman (USA), Lorena Kloosterboer (Netherlands), Ellen Marlen Hamre (Norway), and Shano (USA).