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Archive for January, 2012

Only Now

This is a very new painting, a 24″ by 30 canvas that I call Only Now.  I fee lthat  this is a piece that very much is representative of my larger body of work.  It has my easily recognizable Red Tree, fields of deep colors in the foreground and the white of the gesso underneath breaking through the paint above to create trails and the far horizon. 

 But it also carries, at least in how I view it,  the emotional tone that I think best represents my work.  A sense of being calmly in the moment, taking in the stillness of the paused now.  That sense of being in the now is from where the title emerges.  I see the tree personified as being paused and taking the richness of all that is around it at the moment, not spending too much time worrying about what is in the future, represented here by the paler distant fields and hills at the horizon, or the past, which is somewhere back along the white trail that breaks into the lower portion of the picture plane. 

No past or future in that instance, only the now.

I think the cool clarity of the color here, particularly in the graded tones of the sky, really gives this piece a sense of the ethereal that really enhances the message of the now.   Looking at this painting as it rests on the easel now, it takes me far away to a palce of great inner calm.  It’s not a feeling that I often sense in my own life.  Probably most of us don’t feel that often enough.  But this piece seems to give me a sort of roadmap to this  place of calm.  Or at least it gives me the knowledge that it can exist, if only in the mind.

And that is all I can ask.

 

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I think I’ve mentioned here that there is some of my early work where my documentation is a bit sketchy.  There is a handful of pieces of which I have no images, which bothers me a bit now.  The rest of the work from that time is from iffy slides, photos and simple photocopies where the work was small enough to fit on a copier bed.  I was trying to organize some of these old images recently and came across one of those photocopies.

It was the piece shown here. This was a 7″ by 9″ image on paper.   I’m still trying to locate it’s title which is a bit embarassing for me, mainly because this painting rekindles so many memories when I see it.  I remember distinctly how this piece came about.  I had been looking at a framing magazine ( this was a time when I was still uncertain of how I would present my work and hadn’t settled on my own framing which I’ve used for about 14 years now) and came across an ad featuring a painting that caught my eye.

I don’t remember who painted that particular painting but it didn’t really matter.  The painting itself did nothing for me.  I wasn’t crazy about the color or tone of the image.  I wasn’t interested in its texture of atmosphere or all of the detail that painter had used in the fields and trees.  But the composition screamed out at me and in my mind I was immediately transforming the composition into my own work, with my own simple forms and lines.  We’re talking a matter of seconds here.

It was like the composition was merely a sculptural armature, a framework underneath, that served as a foundation but could be transformed on its surface.  While I used the armature of that painting in the magazine, it would be hard to see the similarities between my piece and that original image.  That tranformation and how quickly it happened in my mind always remains in my memory, permanently attached to this painting.  I felt like I was really finding my own voice in that moment, where I could synthesize influences in a very distinct  individual manner. 

I wish I could see this piece again in person, to see if it holds that same feeling for me.  To see how the person who owns it now sees it and to let them know how strongly it remains in my own memory.

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Last week, a friend forwarded me a link to an online article from the December 21st edition of a  Greensboro, NC newspaper,The Rhinoceros Times.  It was from a column called Uncle Orson Reviews Everything and in this particular column, Uncle Orson took on a variety of subjects including flash mobs, Andy Serkis ( the actor who portrayed Gollum in the Lord of the Rings films) and a book from Stephen GreenblattThe Swerve: How the World Became Modern.  He then went into a description of the shopping district of Alexandria, VA from a recent visit that included a visit to the Principle Gallery.  He writes:

I’ll confess that I spend my longest visit in Principle Gallery, which specializes in one of my favorite genres of art – hyper-realism and abstracted realism. My wife and I visited once before and fell in love with the art of GC Myers, a painter of symbolic landscapes with a bold earthtone palette.

A piece of his has stood now for years above the fireplace in our family room, where it is the focal point as you walk down the hall. It’s a place of honor – and we can’t bear to rotate any other piece in to replace it, even temporarily.

Myers makes it a point to keep his originals low-priced enough that regular people can afford them, though this means he must paint many of them! He’s a hard-working artist – but with a powerful vision, and art that rewards long contemplation.

He goes on to write about his admiration for the gallery and its many other extremely talented artist.  Needless to say, I was surprised and pleased at being the subject of his words, even the fact that he took notice of my desire to keep my work accessible to people of most income levels, a subject  I will talk in greater depth about in a later post.  I wondered who this Uncle Orson was and going back to the top of the page located a photo that I had missed earlier with the words By Orson Scott Card underneath. 

Orson Scott Card, it turns out, is an extraordinarily famous writer who has written over 60 books in several genres but is best known for his landmark science-fiction series that begins with Ender’s Game, a book that  won both the Hugo and Nebula Awards and came in third in a poll from NPR for the Top 100 Science-Fiction and Fantasy Books, with only Tolkien’s The Lord of the Rings snd Douglas Adam’s The Hitchhiker’s Guide to the Galaxy finishing above it.  Ender’s Game is currently in production for a long awaited film version,  to be released in 2013.

Now I must confess, I had no idea who Orson Scott Card was beforehand or the extent of his notoriety.  While I was an avid sci-fi and fantasy reader in my younger days, it was about the time that Ender’s Game came out that I lost track of the genres.  It wasn’t until I was at a family get-together a few days after Christmas that I realized how well known he was.  When I mentioned this Rhino Times article and said it was by the man who wrote Ender’s Game, my two nephews, both intheir 30’s now, were pretty excited as it had been a pretty big book in their lives.

 Even my sister, coming from the kitchen, asked, ” Orson Scott Card has one of your paintings? Well, my estimation of your work has just went up!”  It seems she had read it as well. 

As I have said here before, I am unaware of many things in this world.  So, Uncle Orson, excuse me for not knowing your work before this and thank you for your kind words in your article.  They are most appreciated and I am honored to have a painting in a place of honor in your home and hope it continues to give you enjoyment for many years to come.

And I will be reading Ender’s Game soon.

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The new year is in and with it comes a new start.  A clean slate of sorts.  I wrote a few days back about the final painting I completed in the last year so obviously there will be a first painting for this new year.  This painting shown here is it and very much holds to the theme of new starts.  Called New Day, New Start, this is a 10″ by 20″ canvas and was finished yesterday on the first day of 2012.

The hazy sun breaking through the strong colors of the sky sets the tone here. new light bringing in the opportunity of the new day.  The landscape has several layers here with the foreground field rows slightly separated from the deeper set fields by  trees on either side which act as a sort of stage curtain, a detail I often employ.  As usual, I see the field rows as  representing our daily labor, our day-to-day responsibilty.  The layers behind represent different aspects.  I see the orange as symbolizing the joy we find in life and the yellow as representing a placid state of being, of an understanding and acceptance of our place in this world.  The distant and dark hills are, for me, the inevitable future. The Red Tree is , of course, the individual here. 

As always, I point out that this is simply how I see this, how I translate it for myself.  Your interpretation could be very different and no less correct. 

Overall, I’m really pleased with this painting as a start for the new year.  While it is not a large painting, it has weight and depth, feeling  larger than its physical dimensions.  I am hoping this serves as omen of things to come, painting-wise.  But that is in the future, beyond those blue hills.  For now, I will bask in the light of this new day.

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