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Archive for the ‘Painting’ Category

GC Myers- Where the Circle MeetsI am calling this new painting, an 18″ by 24″ canvas, Where the Circle Meets.  I am thinking of that part of a circle where the beginning starts and the end terminates, doing so constantly and endlessly through cycle after cycle until one is almost indistinguishable from the other.  The beginning contains the end and the  end contains a beginning.

I tend to think of us going through our lives in this sort of karmic cycle, one where we endlessly loop round and round through days and experiences as we go along.  Hopefully, as each cycle comes around we take something from that last turn to make the next one easier and more fulfilling.  Perhaps we shed bad intentions and selfishness.  Or look away from the dark and toward the light.

And I do see this in this painting.  There is a movement from darker to lighter tones as you move into this piece.  Around the bend  in the stream, the sun hovers above the horizon, bringing light which is shown in the form of pulsing beams of energy.

We live our lives in cycles and with that comes the opportunity to know that each cycle’s ending holds the promise of a new beginning.  The trick is in recognizing this and using learned knowledge to make the next one better from the beginning.

I may not be putting this very eloquently this morning.  Perhaps I am too tired or my mind is a bit fuzzy this morning. But regardless of that, I hope you’ll take a look and try to see what I am saying with this piece.

This painting is included in my show, Part of the Plan, which opens at the Kada Gallery in Erie, PA on October 29th.

 

 

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I do what I can to convey what I experience before nature and most often, in order to succeed in conveying what I feel, I totally forget the most elementary rules of painting, if they exist that is.  In short, I allow faults to appear, the better to fix my sensations.

–Claude Monet, 1912

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I have had this little sign hanging in my studio for the last 16 years [over 20 years now], a rough reminder to myself when I begin to feel like my work is bending to the rules and judgments of others.  It reminds me that I am working in my own realm, my world.  I control the parameters of what is possible, of what defines reality in my work.  The rules of others mean nothing in my little painted world.

Over the years  I have glimpsed this small sign at times when I have been feeling that my work is stagnating or beginning to adhere to  accepted conventions.  At those times I have been spurred to push my work in some new direction.  It might come in the form of heightening the intensity of color or introducing new hues that seems incompatible with nature, for example.

It’s as though these two words are prods that constantly  tell me that nobody can control me when I am here in my created world.  There’s a great liberation in this realization and I find myself trusting my own judgment of my work more and more.  Because I have created  my own criteria for its reality, criticism from others means little now.

I think that’s what I am trying to get at here, that an artist must fully believe that they are the sole voice of authority in their work, that they, not others, determine its validity. Maybe that’s why I am so drawn to  Outsider artists, those untrained artists who maintain this firm belief in their personal vision and create a personal inner world of art  in which it can live and prosper.  Rules mean nothing to them- only the expression of their inner self matters .

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GC Myers- Breakthrough

The painting above is called Breakthrough and is a 30″ by 30″ canvas.  I chose it for this post because it fits well with my state of mind this morning.  You see, sometimes a breakthrough announces itself in a big momentous way while sometimes it comes in quiet, barely awake moment.

I woke up this morning in the dark and for the first time in a long while found myself thinking about a painting I had been working on.  I was thinking about how I had left it at the end of yesterday and the approach I wanted to take when I went back into it today–the colors I wanted to add and the manner in which I would apply them.

For most of you, the thoughts of imminent work may not seem like a great way to start your waking day but for me it was an exciting thrill.  It felt normal in a good way to me, something that has been lacking in recent months when it seems as though every day offered a different task or challenge that took me further out of the routine that has long been my emotional and creative stabilizer.

But this morning it seemed closer to my normal normal.  And it felt good.  It was energizing in that it meant that my mind was moving away from things I can’t control and back to those things that control and guide me.  Just knowing that my waking mind transitioned immediately from the subconscious to a creative state was exciting.

And reassuring.  There have been moments in recent months when I thought that part of me was slipping away, that I would have trouble finding my way back to that creative wellspring that has nourished me for so many years.  But this morning I see a creative path moving forward and am eager to move ahead on it.  It feels like a breakthrough and that feels right and good.

Whew!

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GC Myers- Wayfaring StrangerOne of the results of doing this blog for so long– over eight years now– is that when real life takes precedence and there’s not enough time or energy to write anything, I feel a real sense of guilt.  This has become an entrenched part of my day and to be too busy or distracted with something else leaves me with a bit of an empty feeling, like I’m shirking my duty, even if it is only to myself.

And that’s how I am feeling this morning.  Way behind on so many things, some way due in part to forces beyond my control and partly due to my own faults, I still find myself needing to get something down this morning if only to start to get my normal, productive routine back on track. So, I went through some older images and the painting above from back in 2004 immediately jumped out at me.

It’s a favorite of mine called Wayfaring Stranger.  based on the old 19th century folk song concerning a pilgrim’s journey to a better place in this world.  I’ve always liked the clarity and feel of this painting.  The houses have an anonymous coolness, the kind a stranger might feel as they pass by while on their journey and the distant sky with its dark warmth and the golden fields beneath it  reminds me of the song’s second verse:

I know dark clouds will gather o’er me
I know my pathway is rough and steep
But golden fields lie out before me
Where weary eyes no more shall weep
I’m going home to see my mother
She said she’d meet me when I come
I’m only going over Jordan
I’m only going over home

It’s a very simple painting but I think that simplicity is it’s strength, much like the song.  The song has been sung by scads of performers over the years but I really like this version from Neko Case.  Give a listen.  Time for me to get back on my own path…

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GC Myers- Come TogetherThe reason why the world lacks unity, and lies broken and in heaps, is, because man is disunited with himself.
Ralph Waldo Emerson

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This new painting, a 12″ by 36″ canvas, that is headed to the Principle Gallery with me this weekend is called Come Together.  It’s a continuation of the island theme that has been running through my work as of late.

I think the words of Emerson above fit very much with what I see in this painting.  Though it appears to be two separate islands with trees linked by a bridge, I see them as having been once united and have somehow been separated.  In this case, it may have been the tumult of time where the seabeds rise and the mountaintops fall– many of the high peaks that we know are sedimentary rock, after all, raised from the bottoms of the oceans.

The disunity Emerson was writing about was man separating himself from nature instead of realizing that he is part of nature and operates best when he is united with it through order and reason in a sort of partnership.  It makes sense especially when you consider the way that nature reacts when we try to exercise our belief that we have dominion over it.

In the same essay, Emerson also wrote the following  that I think better puts this into context:

Nature is not fixed but fluid. Spirit alters, moulds, makes it. The immobility or bruteness of nature, is the absence of spirit; to pure spirit, it is fluid, it is volatile, it is obedient. Every spirit builds itself a house; and beyond its house a world; and beyond its world, a heaven. Know then, that the world exists for you. For you is the phenomenon perfect. What we are, that only can we see. All that Adam had, all that Caesar could, you have and can do. Adam called his house, heaven and earth; Caesar called his house, Rome; you perhaps call yours, a cobbler’s trade; a hundred acres of ploughed land; or a scholar’s garret. Yet line for line and point for point, your dominion is as great as theirs, though without fine names. Build, therefore, your own world.

We all have the ability to live within nature and to build our own world that reflects our spirit.  If only we can find unity with the nature that desires to be our partner.

Just remember, your world is what you make it.

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This painting will be with me at the Gallery Talk this Saturday, September 17, at the Principle Gallery.  It starts at 1 PM and  should be a good time.  There will be a drawing for the painting, Defiant Heart, which has been shown in the past couple of  posts. Plus there will be a few other surprises as well.  Hope to see you there!

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GC Myers- WatchmanFor thus hath the Lord said unto me, Go, set a watchman, let him declare what he seeth.

Isaiah 21:6

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The biblical verse above is of course the one which was the basis for the title for Harper Lee‘s sequel, to her classic To Kill A Mockingbird.  In the books, Scout regarded her father, Atticus Finch, as such a watchman, a moral and righteous sentinel looking out for injustice and evil.

And that is kind of how I see the central figure of this new painting, the lone Red Tree set high on rocky outcropping in what seems to be an endless sea.  Maybe it is the red of the sky that sets such a tone.  I don’t know.

I’ve been fascinated by small islands in my work lately.  The isolation of them gives these pieces a brooding quality and reminds me a bit of working as an artist.  I’ve often felt that the job of an artist is to act as a sort of watchman.

It is very much a job of isolation, one that is often formed in the solitariness of youth when one always felt like an outsider, observing the world quietly and mostly unseen from the edges of life.  The work itself is done and grows in isolation but is very much influenced by one’s observations of the world around them.  And much of the work, if it reaches the level of art, is based on a sensitivity to what that artist has observed and felt.

And maybe that is the real purpose of artists, to act as a watcher, looking to warn us of our own straying from reason and to keep our humanity intact.  Maybe that is what I see in this painting.

gc-myers-defiant-heart-smThis painting is 8″ by 24″ on canvas and is titled, of course, Watchman.  It is coming with me to the Principle Gallery this Saturday, September 17, when I give my Gallery Talk there beginning at 1 PM.  There will be a group of new paintings including this piece as well as a group of selected pieces from my studio that will only be available for that day.  And there is, of course, the drawing at the end of the talk for the painting, Defiant Heart.

Should be a good time and I hope you can make it to the Principle Gallery this Saturday!

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gc-myers-defiant-heart-smThis coming Saturday, September 17, is my annual Gallery Talk at the Principle Gallery in Old Town Alexandria, VA.  This is my 14th Gallery Talk at the Principle and it’s been a lot of fun through the years.  There’s generally a lot of give and take between the audience and myself in the form of questions and comments and something new and unexpected often comes to light.  I almost always find myself saying something I didn’t expect to say or learning something new about my own work from the comments from someone at the talk.

It’s a surprising dynamic and I am always grateful for the folks who turn out at these talks.

But deep down I know they come for what has become a tradition– the giving away of one of my paintings at the end of the talk.  We have a lot of fun with this and I really do struggle in trying  to choose a painting that holds meaning for me,  one that  that I think deserves attention in someone’s home.

And the painting shown here at the top fits that bill nicely.  It is titled Defiant Heart and is about 14″ by 14″ on paper.  It’s one of those paintings that I felt strongly about but seemed to have bad timing in those times in which they hit the galleries, never coming before the eyes of that person to which it would speak some sort of truth.  There is much that I like about this painting and think it has much to say to the person who connects with it.

It will be my pleasure to have it find a home this coming Saturday.  Maybe it will be you.

So this Saturday, September 17, please come on in to the Principle Gallery in beautiful Alexandria.  The talk runs starts at 1 PM and generally runs about an hour. We’ll have a conversation, I’ll tell some of my secrets and maybe a lie or two and at the end of it, someone will take home their own Defiant Heart.  Oh, as always, there will be a few surprises along the way. Hope to see you there.

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Sunny Point on Keuka Lake, Location of this year's Workshop

Sunny Point on Keuka Lake, Location of this year’s Workshop

As it was last year, I am leading a two-day workshop this month for the Arts Center of Yates County.  This year’s edition is going to be held at their Sunny Point facility (shown above) on the shores of beautiful Keuka Lake on Thursday and Friday, September 22-23.  I plan on having the attendees experimenting in my reductive technique as well as composing their work in different shapes and sizes than they might otherwise be accustomed.

One of the  purposes of this workshop is to see their materials in a different light and to knock down the limitations and rules that we often set on ourselves.  Basically, the idea is to get them realize that there are no rules when it comes to expressing yourself.

Last year was my first attempt at teaching and if you were reading here at that time you may recall that I had a lot of anxiety and reservations about the whole thing.  But I found it to be a very fulfilling experience and the feedback from the attendees was strong enough to convince me that there was indeed something of value here, that I was getting across something of use to these folks.

Frank B. at last year's workshop

Frank B. at last year’s workshop

Plus, it was just fun spending some time with some really nice people.  We had a lot of laughs, told some stories, learned some new things and made some really interesting work in those two days.  If you recall, I was blown away at how quickly that group absorbed the lessons.  At the end of the workshop they were working at a point that took me a year or more to reach on my own.

I was informed yesterday that there was still one and possibly two spots available for this workshop.  So, if you are interested in attending, you can get more info and register by clicking here or phone the Arts Center of Yates County at 315-536-8226.

Keuka Lake in the fall is always beautiful and I know we’ll have a pretty good time along with a few pleasant surprises.  Hope you can make it!

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I thought I’d replay the post below.  Sometimes there are days when nothing seems to work and I’ve had quite  a few of them.  Early on, I took these days as an indication of a lack of talent.  But time teaches that bad days are temporary and that there are lessons to be learned from even those bad days.  Knowing when to throw in the towel and start over is such a lesson.  Here’s my post from several years back:

gc-myers-studio-march-2011I’m sitting in my studio looking at an empty canvas. Not too long ago it was not empty.  No, I spent the better part of the afternoon yesterday working on this canvas, a 36″ square that was prepped beforehand with gesso and a first layer of black paint.  Several hours spent and not a minute of it felt smooth or in rhythm.  The paint didn’t come off the brush in the way that I expected or desired.  The composition seemed to just go nowhere ,leaving bland and lifeless  bits of nothing littered all over the canvas.  I never felt a flow, which is that quality I have described before where one mark leads to the next as though you are reading the lines and strokes on the canvas like they were revelatory tea leaves.

No tea leaves here yesterday.  Everything led to nothing.   After a few hours, I was exasperated and I knew deep down inside that I had betrayed my own words by trying to force the work rather than let it flow out organically.

That was the lesson and I knew what had to be done.  I  laid the canvas flat on the floor and broke out the black paint, covering the offensive marks that had been there moments before.  Blackness filled the space where there had been color just moments before.

It felt good, actually.

Time reveals many things and after tens of thousands of hours spent in the studio I have learned that  failure is no big deal.  It’s like the weather– temporary.  It comes and goes.  A failure like yesterday doesn’t make me happy but knowing that sometimes things just don’t work out makes me take such a temporary failure  with a philosophical shrug.  And instead of struggling ahead with this horror show that was unfurling before me, trying to somehow cobble it back to life, my experience has taught me that it would be best to retreat and start anew.

Tabula rasa-  clean slate–so to speak.

So here I sit this morning, a new day,  with a fresh canvas waiting for me and there is a new air of anticipation around it.  Yesterday is but a lesson and there’s no telling what the time spent today will reveal.  Can’t wait.

Here’s one of my all-time favorites which sort of ties in with today’s post.  It’s Time (The Revelator) from Gillian Welch.

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GC Myers- Suffering MemoryJust remember that the things you put into your head are there forever, he said. You might want to think about that.
You forget some things, don’t you?
Yes. You forget what you want to remember and you remember what you want to forget.”
― Cormac McCarthy, The Road

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 Much of my work concerns itself with our memory, how we perceive our past and how the memory of that past affects our present and our future.  It often seems a treasure, this memory, but it also comes with the price of suffering as well.  After all, the word nostalgia is created from two Greek roots, nostos which means return and algos which means pain or grief.

We suffer in our desire to return.

I see that feeling in this new piece, an 11″ by 15″ painting on paper that I call Suffering Memory.  There is something in the color and the placement of the elements that has a bittersweet quality much like that feeling of looking back through time to a point that you know is long gone and will never come again.

You desire a return but too much has changed–  knowledge gained, the self revealed and innocence lost.

The strong chaos of the texture underneath gives this piece an effect that I think adds to the distance of the memory felt.  The texture acts as a distorting agent which represents the natural distortion that time casts over all of our memories. As we all know, while we would like to think that memory is an absolute truth, time often seems to bend it even further from reality.

The texture here creates areas of light and dark that represent for me the alternating facets of memory’s truthfulness.  While it would be nice to have all memories be completely faithful to the absolute truth of the moment, it is that texture, that flawed recall of our memory that gives it the meaning that it holds for us.

In reality, nothing is seldom as good or as bad as we remember.  But that doesn’t really matter because it is not the truth to which we react.  It is our memory of it, our personal version of that truth with its own color and texture that affects us, that causes us to suffer the memory.

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