Feeds:
Posts
Comments

Archive for the ‘Early Paintings’ Category

Coming to the studio this morning and the song, It Ain’t Necessarily So, runs incessantly in my head for some unknown reason, reminding me of a post from a few years back that speaks directly to this. Here it is:

GC Myers- Moses (I Supposes)Sometimes when I am walking over to the studio in the morning I will have a song stuck in my head. Sometimes it is one that I recently heard, something from the radio. But sometimes it’s one that just springs deeply from the past, something I haven’t thought of in some time. That’s how it was this morning. And thinking of that song linked me to a small painting that I did many years ago.

They just fit together in my mind for some reason.

The song was It Ain’t Necessarily So, the song sung by the slick drug dealing Sporting Life in the great George and Ira Gershwin opera, Porgy and Bess, set among the Gullah population living on the sea islands off of Charleston, South Carolina.

Just a fantastic mix of sound and wordplay.

For some unknown reason, when I hear this song this small painting from over 20 years ago always comes to mind. It’s a piece that I did very quickly, not really knowing what I was trying to paint.  It just sort of popped out and I immediately began calling it Moses (I Supposes). There was something about this piece that I have always liked. Maybe it’s the I-don’t-give-a-damn way way everything in it is painted, from the giant hands down to the giant feet.

It’s just a personal favorite that somehow always springs to mind when I think of this song. Maybe because Moses is mentioned in a verse in the song–

Lil’ Moses was found in a stream
Lil’ Moses was found in a stream
He floated on water
‘Til Ole’ Pharaoh’s daughter
She fished him, she says from dat stream.
***************
I don’t know for sure why the song and painting are connected in my mind but I enjoy the combination. Here is one of my favorite versions of the song, the one from the Simon Rattle directed version with the London Philharmonic from the Glyndbourne Festival with Damon Evans as Sporting Life.
Have a great day and remember– not everything is necessarily as it seems to be. It ain’t necessarily so…
**************

 

Read Full Post »

The Deacon’s New Tie- 1995

I have plenty of things to do this morning but somehow ended up spending an hour watching old videos on YouTube trying to find something to share here. However, it didn’t feel like wasted time. I generally find something new for my own edification or something that changes the course of my day in some way. Maybe makes me smile or think.

This morning, I felt like something bluesy/gospelly so I went to one of my favorites Sister Rosetta Tharpe, the godmother of rock and roll whose career spanned big bands to gospel to the blues that shaped rock and roll. Big onstage personality and a unique style with her electric guitar stylings. I thought you can’t go wrong with Sister Rosetta, especially in a live performance from a British rail station in 1964 where she’s rocking her guitar in a heavy coat and high heels belting out Didn’t It Rain on a wet platform.

But then some Louis Jordan, another favorite of mine, popped up on the sidebar. Another huge influence on early rock and roll and, like Sister Rosetta, possessing a big, charismatic personality onstage. I decided on his song Deacon Jones simply because it reminded me of the older piece above, The Deacon’s New Tie,  from my Exiles series from the mid 90’s. Thought they would pair together well.

Then on the side, up comes the Soul Stirrers, the gospel group that started the career of the immortal Sam Cooke, doing a knock’em dead version of I’m a Soldier. Just plain old great stuff.

I couldn’t pick just one so here are all three. Listen to one or two or all of them. Or none. Hey, you got free will working here, folks. But it wouldn’t be the worst way to spend a few minutes so you decide then go have a good day.



Read Full Post »

**********************

Darling remember, when you come to me
I’m the pretender; I’m not what I’m supposed to be
But who could know if I’m a traitor?
Time’s the revelator

–Gillian Welch, The Revelator

***********************

I came across an image of the painting at the top, a piece from 2006 called What Is True that holds a lot of meaning for me, and it set me thinking.

Truth is patient. It waits for the light of a sun that sometimes travels through the vastness of space and time, millions and millions of light years, to shine on it.

Time always finds truth at some point and when it shine its light upon it, there is revelation.

Every day is filled with revelation, so it seems.

Time and truth are coming together.

Here’s a favorite song of mine from Gillian Welch, The Revelator.

Read Full Post »

*****************

GC Myers  1994 Early Work Illustrative Styling

****************

To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.

~Henri Bergson

****************

If you have read this blog for some time, you probably have noticed that I periodically like to revisit old work, especially those early pieces from when I was still in the process of finding voice. It’s an interesting period for me to look at because the changes were coming fast, sometimes on what seemed to be a daily basis, as new things were tried, some sparking new directions and some being quickly set aside.

It was a much different set of circumstances than the way I currently work. It was a period of fast and furious fireworks, little pops and crackles with every step forward where today it is quieter for periods of time followed by louder booms. I don’t know if I can explain that any better and am pretty sure it means nothing to anyone but that is the nature of this whole endeavor– trying to make sense of something inexplicable.

I was looking at some early pieces and stopped on this one at the top for a bit, looking at it closely for the first time in many years. It’s from around 1994 and was at a point where I was still trying to figure out things. It was very illustrative– I could see it being used in a kid’s book– but there were things I took from it. The treatment of the sky, for instance, presaged the way my process evolved. It’s a pleasant little piece but it is far from where I wanted to be and even back then I knew it when I finished it then set it aside. It was not an emotional carrier for me at the time and that was what I was seeking.

The piece below, Into the Valley, was from around six or seven months later, in early 1995, and shows the changes that were taking hold in my work.  It is simpler in construction yet seems to say more for me, seems to have some more fundamental thought and feeling in it. GC Myers Into the Valley 1995

I usually take something from these little visits back in time. The changes become more evident as the style matures then levels off, becoming a bit more subtle, less drastic but more confident. But always changing, always recreating itself as it matures.

Or so I hope…

Read Full Post »

**********************************

Truth made you a traitor as it often does in a time of scoundrels.

Lillian Hellman, Scoundrel Time

***********************************

I am forcing myself to write about something removed from the news, lest my anger . There are things happening, both here and in our foreign policy decisions, that are deeply disturbing with ramifications that will echo for years to come around the globe. I will just let the words above from Lillian Hellman‘s autobiographical memoir, Scoundrel Time, sum up my view of the whole thing.

We are definitely in a time of scoundrels.

So, instead, I am making an unusual request.

The painting at the top, Exiles: Blue Guitar, is one that I painted back in 1995 as part of my Exiles series. This is one of the paintings I most regret letting go. It was the largest painting and the true centerpiece of the Exiles series besides having a lot of personal meaning for me.

Regrettably, this painting went to the Kada Gallery in Erie in 1997 or 98 where it was sold to an unnamed collector.

I am not trying to get it back, though I would gladly repurchase it. My desire is to get an image of it as it is now. You see, in 1997 I believe it was, I darkened the background in the painting. Any documentation of that change is lost and I have no idea or image of its final appearance. I would love to get an image and perhaps reframe the painting for its current owner. It was framed at a time before that in which I started using my signature frame. It is in an unusual frame, one that I think is probably inappropriate for it, along with a plexiglass covering that only used once or twice early on in my career. It deserves to be seen in a better setting.

My request is to any of my readers in the Erie area. Or any of my readers anywhere, for that matter. If you know of this painting or know anyone who might have my work but you’re not sure, ask them to get in touch with me here. I would like to hear from them.

I know it’s a long shot but I thought it was worth putting out there. This has been on my mind for many years now and I would like to take care of this.

Thanks!

 

 

Read Full Post »

GC Myers Exiles-Bang Your DrumI am getting ready to head out to Westfield later today for an Art Talk that I will be giving this evening, Thursday beginning at 6 PM, at the Octagon Gallery at the historic Patterson Library. The talk is in support of my Icons & Exiles exhibit that hangs there until next Friday, September 20. It’s a very eclectic exhibit that showcases work from several different series from the past 20+ years that normally hasn’t had much public exposure. Much of this work is more narrative driven than my typical work which is more about emitting emotion. So there are plenty of stories to be told from this show.

I thought I’d share a blog entry that ran here back in 2009 about one of the paintings in the exhibit and how it relates to the act of promoting your work, something I’ve talked about here in recent weeks. Here it is:

This is another piece from my early Exiles series, titled Bang Your Drum. This is a later piece, finished in early 1996.  

Initially, I was a bit more ambivalent about this painting compared to the feeling I had for the other pieces of the Exiles series. It exuded a different vibe. For me, the fact that the drummer is marching signifies a move away from the pain and loss of the other Exiles pieces. There is still solemnity but he is moving ahead to the future, away from the past.

Over the years, this piece has grown on me and I relate very strongly to the symbolism of the act of beating one’s own drum, something that is a very large part of promoting your work as an artist.  

For me and most artists, it is a very difficult aspect of the job, one that is the polar opposite to the traits that led many of us to art. Many are introverted observers of the world, passively taking in the world as it races by as they quietly watch from a distance. To have to suddenly be the the motor to propel your work outward is an awkward step for many, myself included. Even this blog, which is a vehicle for informing the public about my ongoing work and remains very useful to me as a therapeutic tool for organizing  my thoughts, is often a tortuous chore, one that I sometimes agonize and fret over. Even though my work is a public display of my personal feelings, this is different. More obvious and out in the open.

There’s always the fear that I will expose myself to be less than my work. The fear that people will suddenly discover the myriad weaknesses in my character that may not show in my paintings, forever altering their view of it. The fear that I will be  revealed to be, as they say, a mile wide and an inch deep.  

But here I stand with my drumstick in hand, hoping to overcome these fears and trusting that people will look beyond my obvious flaws when they view my work. Maybe they too have the same fears and that is the commonality they see and connect with in the work. Whatever the case, there is something in the work that makes me believe that I must fight past these fears and move it forward, out into the world.

What that is, as I’ve said before, I just don’t know. Can’t think about it now– I’ve got a drum to pound…

Hope you can make it to the talk tonight. I’ll be there, banging my drum. Here’s a little music to get you in the mood. Todd Rundgren from 1983 even though it seems about a million years ago. He knows what I’m talking about.

Read Full Post »

Couldn’t let the day go by without mentioning that today Otis Redding would be celebrating 78th birthday if he were still alive. Unfortunately, he tragically died 52 years ago in a plane crash. Only 26 years old and filled with a world of talent and a quality in his voice that so many singers try to emulate but seem to always come up short.

I still get chills sometimes listening to his music.

The painting here, The Lost One, is included in my Icons & Exiles show now hanging at the Octagon Library at the Patterson Library in Westfield, NY. I will be giving an Art Talk there this Thursday, beginning at 6 PM.

The Lost One was painted several years ago and was an effort to revisit the Exiles series that was painted back in 1995. While I feel that this painting fits into the series, it doesn’t have the same base of emotion as the others in the series which were painted at time of personal grief. It tries but comes out on a different emotional level.

It seems you can’t simply replicate deep emotion.

But even so, I like and appreciate this piece. It has its own forlorn sadness.

That being said, let’s listen to some Otis. Here’s Fa-Fa-Fa-Fa-Fa (Sad Song) from Mr. Pitiful himself.

Read Full Post »

« Newer Posts - Older Posts »

%d bloggers like this: