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GC Myers- Full Moon Fever smHere is another new piece from my solo show at the Principle Gallery that opens next week, on June 4th. This is another of the interior scenes showing a room in the aftermath of some sort of to-do.

Myself, I don’t know exactly what took place and can only imagine.

I think that’s the point of these paintings, to give an endpoint where the viewer has to use their own imagination as to what has occurred. A final paragraph for a short story that gives you the results but not how it got to this point. It can be as vibrant and wild as your imagination allows.

This painting, a 10″ by 20″ canvas, is titled Full Moon Fever. My own story for what has happened is that this is a cabin where Larry Talbot tried to hide from the moon, to no avail. Larry Talbot was the name of Lon Chaney’s character in the original 1941 werewolf movie, The Wolf Man.

Now, that’s my take. Your own story may not line up with this at all and that’s means you’re using your imagination. That is usually a good thing so long as you realize it’s your imagination and not reality. Wild imaginings that folks perceive as reality are not a good thing as we have all seen in way too many instances in recent times.

I borrowed the title of this painting from a Tom Petty album that bore the same name, Full Moon Fever. Here’s Free Fallin’ from that album to honor the memory of Larry Talbot’s howling freefall that came under every full moon.



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Cezanne- The Kitchen Table 1888-1890

Paul CézanneThe Kitchen Table, 1888-1890



An art which isn’t based on feeling isn’t an art at all… feeling is the principle, the beginning and the end; craft, objective, technique – all these are in the middle.

-Paul Cézanne



Since I am a little short on time this morning as I am in the final days of wrapping up my approaching Principle Gallery show before delivery later this weekend, I thought I’d share a thought from Paul Cézanne that pretty much sums up my view on art, that feeling and emotion is the primary driver behind all art.

Here’s a short video of some of of Cezanne’s better known works for you to examine for their levels of feeling.



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GC Myers-  Symphony of Silence  2021



Out beyond ideas of wrongdoing
and rightdoing there is a field.
I’ll meet you there.

When the soul lies down in that grass
the world is too full to talk about.

― Rumi, 13th century Persian poet



The new painting at the top, titled Symphony of Silence, is an 18″ by 36″ canvas. This weekend, it is headed down to the Principle Gallery as part of my solo show, Between Here and There, which opens June 4th.

I have written in the past about what I see as the connection between painting and music, how I see some of my pieces as simple songs and others as more intricate compositions. Perhaps symphonies or concertos.

This, in my eyes, is one that seems simple at a first glance. It is sparse and without great details. But the more I look at it, the more I see in it. How each element and color plays off the next and how they are fortified by each. It feels like there are rhythms and melodies running through it, from side to side as the terrain flows and up and down with rise of the moon.  There is inward and outward movement with the light of the stars and the undulation of the trail. The blocks that make up the night sky seem to swirl and rotate in all directions. The far mountains appear almost as sound waves. 

There is seemingly constant movement throughout the landscape and the skyscape. Almost a cacophony.

Almost.

It is silence.

Somehow the movements, the rhythms, and contrasts all run together at some point.

Harmony. Made up of the stars in motion countless lightyears away and the ancient wisdom contained in the stillness of the land and water. Always there but in silence. 

It is a simple piece but one that constantly shares something more than it lets on with a mere glance.

Here’s a piece of music to accompany it, a longtime favorite of mine and one that has played a large part in how I came to view my own work. It’s from composer Arvo Pärt and his composition Tabula Rasa. This is the second movement, fittingly titled Silentium. It feels right with this painting.



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GC Myers-  Una Semper 2021



The title of this new 20″ by 30″ painting is Una Semper which translates from the Latin as Always One. It’s part of the group that will soon be heading down to the Principle Gallery for my annual solo show there. This year’s show is called Between Here and There and opens June 4.

This would be what I would call one of my Baucis and Philemon pieces based on the Greek myth that I have documented here on a number of occasions. I have done a number of iterations on this theme over the past decade or so and they remain among my favorite pieces to paint. There something in the dynamic of the two trees intertwining and pushing upward that stirs a feeling within me.

For some reason, the pair tends to bring most any composition to a satisfying fulfillment. These pieces always feel complete and self-contained. And I like that.

This piece has these elements and has a brightness and pop that is really appealing to my own sensibilities. It just seems alive which is a big deal for me.

I thought I’d pair this new piece with this week’s Sunday Morning musical selection. which is from the 2005 album, Devils & Dust from Bruce Springsteen. It was his third acoustic album, and like the other two, Nebraska and The Ghost of Tom Joad, remains a favorite of mine with memorable songs throughout, including the title track.  This song is titled All I’m Thinkin’ About and features a falsetto over a driving melody. I am always surprised at how effective his falsetto is in his songs. This is one of those songs that always grabs my attention when it comes on while I am working.

Okay, got to get going because there is still lots to be done as I prep for this show. No rest for the wicked as they like to say. I would like to believe it’s the other way around — no rest for the righteous— but that might just be quibbling.



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GC Myers- Harmonia Aeternam



There are seconds, they come only five or six at a time, and you suddenly feel the presence of eternal harmony, fully achieved. It is nothing earthly; not that it’s heavenly, but man cannot endure it in his earthly state. One must change physically or die. The feeling is clear and indisputable. As if you suddenly sense the whole of nature and suddenly say: yes, this is true. God, when he was creating the world, said at the end of each day of creation: ‘Yes, this is true, this is good.’ This . . . this is not tenderheartedness, but simply joy. You don’t forgive anything, because there is no longer anything to forgive. You don’t really love — oh, what is here is higher than love! What’s most frightening is that it’s so terribly clear, and there’s such joy. If it were longer than five seconds — the soul couldn’t endure it and would vanish. In those five seconds I live my life through, and for them I would give my whole life, because it’s worth it. To endure ten seconds one would have to change physically . . . .

― Fyodor Dostoyevsky, Demons



I think I understand what Dostoyevsky was describing in the words above. I imagine –well, hope– that most of you have experienced those fleeting seconds where the harmony of everything suddenly becomes evident to you.

All the things that make up the world, the universe, all the planes of existence, and yourself in that rare moment seem to be just where they should be in relation to all other things. It is as though everything is comprised of floating, constantly shifting plates that periodically find themselves in a position where the perfection of eternity is achieved and revealed to the watchful few.

For a few glorious seconds.

Then the plates resume their shifting and harmony seems, at best, just out of reach. Or, in the case of the other extreme, nowhere to be found as the plates shift to a point of chaos and dangerous imbalance.

Maybe that rare moment of eternal harmony –as I know it– is what I am seeing in this new painting that is headed to the Principle Gallery for my annual solo show, Between Here and There, which opens June 4. It has a feeling of great harmony for me, of things being in alignment, in place. And of the Red Tree as a central figure being aware of the unity of time and place in which it finds itself.

I believe I have experienced episodes of those four or five seconds of clarity and I see it in this piece. I am calling this new 24″ by 36″ painting Harmonia Aeternam. I chose the Latin translation for Eternal Harmony because I felt this piece deserved a weightier title.

It’s strong enough to handle it.

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GC Myers- Pillars of Wisdom- Wait and Hope sm



“There is neither happiness nor misery in the world; there is only the comparison of one state with another, nothing more. He who has felt the deepest grief is best able to experience supreme happiness. We must have felt what it is to die, Morrel, that we may appreciate the enjoyments of life.
” Live, then, and be happy, beloved children of my heart, and never forget, that until the day God will deign to reveal the future to man, all human wisdom is contained in these two words, ‘Wait and Hope.”

Alexandre Dumas, The Count of Monte Cristo



The painting above is another that is included in my show, Between Here and There, that opens June 4 at the Principle Gallery in Alexandria, VA. It is 12″ by 16″ and is also painted on an aluminum panel.

It is titled Pillars of Wisdom: Wait and Hope. This was inspired, in part, by the excerpt above from the classic The Count of Monte Cristo by Alexandre Dumas. As I was painting it, I began call this piece Pillars of Wisdom but after it was completed I came across this bit from Dumas. The idea of seeing these being trees named Hope and Wait and that they represent the totality of human wisdom seemed perfect.

So many of us live with a certainty and assurance that is beyond me. We have yet to learn all there is to know, all the answers to the infinite number of questions that hover over us like so many stars in the night sky. Perhaps one day we will fully be bathed in the light that is all wisdom, but until then all we have are those two words: Wait and Hope.

Hope waits for the light to come and Wait hopes for it.

Wait and Hope. What more do you need to know?



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Fanny spoke her feelings. “Here’s harmony!” said she; “here’s repose! Here’s what may leave all painting and all music behind, and what may tranquillise every care, and lift the heart to rapture! When I look out on such a night as this, I feel as if there could be neither wickedness nor sorrow in the world; and there certainly would be less of both if the sublimity of Nature were more attended to, and people were carried more out of themselves by contemplating such a scene.

― Jane Austen, Mansfield Park



GC Myers- Tranquilium smThis is a new painting that is included in my new solo show, Between Here and There, which opens June 4 at the Principle Gallery. It is titled Tranquilium and is 10″ by 20″ painted on an aluminum panel.

I have recently started painting on aluminum composite panels which are two layers of aluminum sandwiched over a polyethylene core. They are rigid, acid-free and extremely durable which means that a painting done on one of these panels should be long-lasting.

The durability and  stability of my work is something I have thought about since my earliest days as an artist. While I have no control over how my work moves into the future after it leaves my hands, I can at least give it a chance to survive while maintaining the look and integrity of the original painting.

I don’t know if my work will live on but if so, I want it to look as good as possible. I believe work painted on these panels have the best chance at doing just that.

Plus, I like painting on them, Every surface– canvas, wood panel, or paper– has its own feel under the brush. A stretched canvas has an appeal for me in that there is often a drum-like feel and cadence as the brush bounces off the taut surface. It adds to the meditative quality of the process. Paper has a softness that comes through even when it is covered with multiple layers of gesso.

Much like wood or masonite panels but far more stable and unaffected by moisture, the aluminum panels have a unmoving solidity that lets me know how my brush will react as it meets the surface. That helps for my process. I know what is going to happen at that moment. And that’s a good thing.

This piece, Tranquilium, has satisfied something within me. It has a stillness and placidity that feels timeless so it’s natural that I would like to think that it will live a longer life than my own. Hopefully, it has something in it, perhaps that which Jane Austen’s Fanny described above, that will speak to someone in the future as it does to me in the present moment. Lifting the panel with this painting, feeling its weight and solidity and the way the image comes off the surface, it certainly seems like it might.

I will never know but at least I am giving it a chance.

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GC Myers- Show's Over, Folks



Everything is going to be fine in the end.
If it’s not fine it’s not the end.

― Oscar Wilde



My solo show, Between Here and There, which opens June 4th at the Principle Gallery, has a group of smaller paintings featuring Red Chairs in interior scenes are mostly scenes of the aftermath of prior proceedings. I’ve shown a few here already and thought I would share another today. The one above is titled Show’s Over, Folks.

Kind of like a cop at a crime scene saying, “Shows, Over, folks, Nothing more to see here. Move on.

I enjoy these pieces in many ways. I like composing and painting them. I enjoy looking at them because while they often make me smile, they often make me think as well. There’s usually a fair amount of atmosphere in them to take in and interpret. Sometimes my take on a piece like this will change from view to view. Perhaps it’s dependent on my own mood at the time that I am looking.

Right now, this one makes me smile. The show might be over for the night and that might be sad but it ain’t the end. Like Wilde’s words at the top– if it’s not fine it’s not the end.

Here’s song that kind of goes with this piece. It’s an old Kinks favorite, Till the End of the Day. With lyrics like: Yeah, I get up/And I see the sun up/And I feel good, yeah/’Cause my life has begun how can things not be fine?

Now, off to work.



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GC Myers- In Retreat (Shelter)



When I flew over the Atlas Mountains in a plane, I realized that their formation-through erosion, geological dramas, the action of winds-was completely independent of our moral anxieties; man is in a kind of cyclone; he builds solid houses to protect and shelter his heart. Outside, nature is nothing but indifference, even terror.

― Le Corbusier, When the Cathedrals Were White



As I have written recently, I am neck deep in the  work right now as I prepare for my upcoming solo show, Between Here and There, at the Principle Gallery. It opens on June 4 at the Alexandria, VA gallery that has graciously hosted my solo outings there for the past 22 years.

I am generally excited about each show as it nears but the anticipation to get this work out in the public, out in open air, feels even greater this year. Maybe it’s the events of this past year– a pandemic, an insurrection, the death of my father, a hobbled ankle that has constantly nagged at me, etc– but I felt somewhat distracted in my work over the past year or so. I feel that the work from this time was where I wanted it to be but it came with great effort and a focus that wasn’t always there.

The work from the past several months has been quite unlike that. I am in the midst of a great groove where I feel focused and locked in. It’s one of those rare and wonderful times where the work is coming easily, one piece throwing me instantly into the next, to the point where I will set aside a painting that is 3/4 complete so I can begin the next while the focus and rhythm is still resonating in my brain. I have several such paintings still awaiting completion around the studio as I sit here this morning.

It’s a wonderful feeling, one that I can’t fully explain to you. With this focus, the outside world is diminished, almost blocked out. The work becomes a sort of shelter, a retreat from the darkness and outrage of the world beyond my studio walls. Of the many benefits that being an artist offers, that might be the most valuable for me, the thing that keeps me afloat through thick and thin. The shelter of this work is a life saver.

So good to have it back. I only hope that the show lives up to the feeling. It’s at this point each year that I begin to worry that I am delusional, that my proximity to the work and the process makes me incapable of actually seeing it for what it is.

Contact intoxication, maybe?

But the benefit of being in such a groove is that the work engrosses me so much that it keeps me from fully fixating on this uncertainty. How it is received seems insignificant when it’s like this.

Now that’s the shelter I need.

This leads me to the small piece shown at the top, a 12″ by 12″ canvas that is part of the show, one of the first pieces completed. It set things in motion. It is titled In Retreat (Shelter) which only seems appropriate this morning. I could easily see that Red Roofed structure as my studio or myself as one of those Red Trees that seem to be seeking shelter behind it.

I am going to link this image and post to a song whose chorus has periodically entered my mind over the past 30 or so years. It’s fittingly titled Shelter and is from Lone Justice from back in the mid 1980’s. Led by vocalist Maria McKee, they were very hot for a few years but they couldn’t hold together long enough to reach the potential that so many saw in them. They disbanded in 1987 and Maria McKee went on to a solo career. I thought their two albums were very good and they were regulars on my turntable back in the day. But honestly, I haven’t heard any of their music for probably twenty five years though, as I said, the chorus from this songs pops into my head every now and then. It was produced and cowritten with McKee by Steve Van Zandt, who is known as Miami Steve with Springsteen’s E Street Band, Little Steven with his Disciples of Soul or with his Underground Garage Sirius show, or as Tony’s consigliere Silvio Dante on The Sopranos. You can hear his influence in this song.

Give a listen. Maybe it will help you find some shelter of your own or at least have its chorus pop into your head someday in the future.



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GC Myers- Hiding in Plain Sight

“Hiding in Plain Sight”- Bid for it on the SPCA Fundraiser



What makes a hero? Courage, strength, morality, withstanding adversity? Are these the traits that truly show and create a hero? Is the light truly the source of darkness or vice versa? Is the soul a source of hope or despair? Who are these so called heroes and where do they come from? Are their origins in obscurity or in plain sight?

– Fyodor Dostoevsky



I want to let everyone out there know that the painting above, Hiding in Plain Sight, is currently part of the online auction to benefit our local Chemung County SPCA. This painting is 10″ by 14″ on paper which is matted in a 16″ by 20″ frame. It is valued at $1500 and the current high bid is $1050. It is Auction Item #14.

This virtual fundraising event which takes place tomorrow, Saturday, May 1, runs from 4-7 PM on Facebook Live with the auction for all items ending at 7 PM. It also has a variety of entertaining musical performances though out the event. You can check out or bid on this painting or any of the many donated items by  clicking on this link for its Facebook page, SPCA Virtual Facebook Fundraiser and scrolling down through the items. As I said, this painting is Auction Item #14.

I hope you will take advantage of this opportunity to help out a worthy organization, our SPCA, and perhaps take home an original painting.

For me, this painting has message that aligns well with what Dostoevsky questions above. What makes a hero? What is beauty? What are we seeking? Is it beyond us or is it in plain sight?

My guess is that all that we seek and all that we are or need is always right before us, in plain sight.

So, come out of the shadows and stake your claim to heroism by helping the SPCA continue to help out the animals here in Chemung County. Like so many other things, those in need are often in plain sight, waiting for a helping hand.

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