Guity Novin

Canadian artist

Guity Novin classifies her artistic output under the term transpressionism, a concept she developed in the 1990s to synthesize elements of impressionism. Born Guity Navran in 1944 in Kermanshah, Iran, she moved with her family to Tehran in 1953, where she eventually launched a career as an illustrator, painter, and graphic designer.

Early Career in Iran

After graduating from the Faculty of Fine Arts with a Bachelor of Arts in graphic design, Novin secured a position in 1970 at the Ministry of Culture and Arts in Tehran. During this period, she established herself as an illustrator for magazines such as Zaman, Chaapar, and Daricheh. Her professional trajectory also included designing for the First Tehran International Film Festival and publications for the Free Cinema of Iran.

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Exhibitions and Professional Recognition

Novin’s work gained early visibility through various exhibitions, including the Women artists exhibition held during the 1974 Asian Games and the Salon d'automne in Paris. Her illustrations have appeared in diverse media, ranging from the 2001 publication Le Carnaval de la licorne to the academic text Abnormal Psychology, which featured her piece Pears in Blue. She has also served on a UNESCO national committee of artists.

The Vancouver Period

In 1996, Novin relocated to Vancouver, where she began a series of shows focused on the tenets of transpressionism. Her solo exhibitions in the city include The Bliss of Solitude, presented in 2004, followed by works such as And Yet the Menace of the Years Find, and Shall Find, Me Unafraid in 2006. Between 2006 and 2009, she participated in numerous group shows at the Ferry Building Gallery and CityScape gallery.

Fast facts

Questions readers ask

What is transpressionism?

It is a term coined by Novin in the 1990s to classify her specific style of figurative painting, blending elements of impressionism.

Where has Novin lived?

She was born in Iran, living in Kermanshah and Tehran, before moving to Vancouver, Canada, in 1996.

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