Guity Novin Quotes

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.

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.

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.

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.

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.

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.

If Marx were still alive, he would write: “Social networks are the opium of nations!

Poetical spaces too can be painted like a vase.

It is easy to start a war, but its end is decided by will-o-the-wisp, which is so effective in deceiving travelers on this road!

The pronouncements by Hegel and Nietzsche, on "the End of Art" and "the Death of God" ignited the fad of Endism in the western culture in the final century of the last millennium. Daniel Bell 's "The End of Ideology" (1960), Martin Heidegger's "The End of Philosophy" (1973), Theodore J. Lowpdi's "The End of Liberalism" (1979), Arthur Danto's "the End of Art" (1984), Bill McKibben's "The End of Nature" (1989), Francis Fukuyama's "The End of History" (1992), Kenichi Ohmae's "The End of the Nation State" (1996), Jorie Graham 's "The End of Beauty" (1999), Chris Dillow's "The End of Politics” (2007) were just some of such seemingly endless stream of "endings", which made one wonders that at such high rate will there anything be left for a future ending!

Performance of the violinist -- it's all in the interpretation and all the virtuosity comes out of the context of the interpretation!

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.

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.

How would you explain Manet’s ? Yes, you may say that the mirror in the back of the barmaid, like Plato’s , 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 wrote . 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 Ferdinand 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.

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.