Born in Romania in 1935, Pnina Granirer is an artist whose multicultural journey has significantly shaped her artistic perspective. Having resided in Israel, France, the United States, and Canada, she draws inspiration from the rich tapestry of these diverse cultures. Granirer initiated her artistic pursuits at the Bezalel Art Academy in Jerusalem before relocating to Canada in 1965.
Granirer's artistic influences are a fusion of children's fairy tales and German Expressionism, a 20th-century movement characterized by its emphasis on conveying the artist's inner emotions and ideas through simplified shapes, vivid colors, and expressive brushstrokes.
Her art has found a home in numerous public and private collections across local, national, and international landscapes. For those eager to delve into the intriguing world of Pnina Granirer and explore the narrative woven into her art, a visit to her official website is recommended.
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"The dynamic sculptural forms of the stones from British Columbia's Gulf Islands have a profound, multilayered meaning for me that appeals to my mind as well as to my heart.
"In the mid-80s, while working on the series of THE CARVED STONES, I accompanied my mathematician husband to Paris during his sabbatical leave from UBC. I had taken some of the drawings and photographs of stones from Gabriola and Saturna islands with me, in order to continue working on this theme. While thinking about stones and walking on the streets of Paris, I became keenly aware of the numerous stone sculptures everywhere.
"I had seen them before, but never in such a way; these stones had been carved into human figures of worship and power.
"Historically, Canada's cultural past is very short. The Carved Stones series brings Canada into the universal cultural context, introducing stones that chart the history of the earth, juxtaposed to stones that chart the history of our civilization. By placing stone sculptures carved by (mostly) men into a landscape of stones carved by nature, this imagery creates integration, as opposed to principles of conquest and domination.
This is how some well-known sculptures made their way into my paintings."
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"In this work, photographs of the Buddha have been transferred and drawn over in charcoal, dominated by a large, imposing stone carved by the elements. The gold leaf sky imparts the feeling of richness, holiness and awe."
"Photographs of the Pieta carved by Michelangelo, have been transferred and drawn over in charcoal, dominated by a large, imposing stone carved by the elements. The gold leaf sky imparts the feeling of richness, holiness and awe."
"In 1998, I had the great pleasure of participating in the famous Emma Lake artists' workshop created by the University of Saskatchewan. The experience of total immersion in art was new to me, away from daily life duties. No cooking, no shopping, no cleaning - just art for 24 hours a day. Being in such close proximity with so many artists motivated and inspired me, even as I continued working on the series of the Carved Stones.
The Stone Goddess is one of the paintings from Emma Lake. My brushstrokes became heavier, paint became thicker and richer. The painting is divided almost across the middle, stressing the difference between the real world below and the imagined world of gods and worship above. All made of stone..."
"Dance is one of the oldest forms of human expression. Ever since humanity initiated the rituals which were to ensure its survival, people have swayed and moved to the rhythms of music, using their bodies to appease the gods and to express their joys and sorrows. And later, in dark and hidden caves, their marks on the stone walls became the earliest form of visual art.
"The purpose of this series is to express the marriage of these two basic, non-verbal human activities: dance and painting. An additional element is explored in these works: the long tradition of aesthetics, the need for beauty which is intrinsic to our humanity, as consistently expressed through millennia of artistic endeavour.
"I am well aware of the current trends and norms in visual art, as well as of the fact that painting in general and figurative painting in particular are not very popular. However, the interest in the human form and expression is alive and well, and I am one of its proponents. This series of works deals with the connection between the disciplines of painting and dance, reflecting my need for simplicity as I grow older. I have learned that what really counts at the end of the day is not the attractions of new gadgets, technology and machines but rather the human factor, family and friends. Thus, I am returning to the basics, to the most wonderful machine of all: the human body.
"The human factor in dance is irreplaceable, and no technological means can change this; dance is an art form which relies totally on muscle and bone, intelligence, perception and creativity. To celebrate the humanity of dance in my work, I use painting, the simple, direct and human way of expression which goes back to our very beginnings." - Pnina Granirer, August 1, 2001
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Based on a movement of Emily Molnar, one of BC's Ballet dancers at the time, and eventually became the director
Reflects the Midsommer's Night Dream Ballet performed by Ballet BC
Based on movements by Kokoro Dancers