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GC Myers- In the Inner PlaceShakespeare said that art is a mirror held up to nature. And that’s what it is. The nature is your nature, and all of these wonderful poetic images of mythology are referring to something in you. When your mind is simply trapped by the image out there so that you never make the reference to yourself, you have misread the image.
Joseph Campbell (with Bill Moyers), The Power of Myth

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I think that the words above that Joseph Campbell spoke during his conversation with Bill Moyers for  The Power of Myth speak beautifully for both mythology and art, at least in my view.  I believe that we truly connect with myth and art when we see it as personal to ourselves, as being somehow symbolic of our own experience and being.  Our emotions and reactions.

Of course, many myths and much in art may not speak to us on this personal level.  I certainly don’t expect my work to speak to everyone no matter how much I may wish that it could.  It simply can’t.  My work is a reflection of my journey, my limited knowledge and my flawed self.  Yours is completely different.  But occasionally, there is a moment when you will see something of yourself in my representation of my inner world and that to me is magical.

This new painting, an 8″ by 24″ canvas, is what I see as being a very personal piece that might well reflect for others.  I call it In the Inner Place and it is included in my upcoming show, Part of the Pattern, at the Principle Gallery which opens June 3.  Without being specific, I see many things in this painting that I think speak strongly to how I want to see my world and my place in it.

An inner perception.

You might simply see it as a pleasant piece.

Or not.

Or you may see it as something reflective of your own inner world, something that speaks to who you are.  I can’t say.  We can’t control what anyone sees in a mirror.

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GC Myers- Ascending BirdI’ve been looking for a title for this new painting, an 18″ by 18″ canvas, for a week or so now.  A lot of things come to mind and I thought I had it for a while.  Then I was listening to some music and one of the songs just hit me.

It was Ascending Bird, a traditional Persian folk melody, played by the Silk Road Ensemble which is a large and loosely knit group ofmusicians, including the great Yo-Yo Ma, who hail from along that fabled route and play many of the traditional instruments. The Silk Road was the network of  ancient routes that traders used in linking the East and West over the centuries, from China through the Middle East to the Mediterranean. Both goods and ideas moved along the Silk Road.

This song is the Persian version of the Phoenix myth, of a bird who flies higher and higher toward the sun until it is engulfed in flames.  It then rises from the ashes as a new creature.

And that’s kind of how I see this painting.  The paths moving from dark to light signify a transformative journey and the Red Tree appears as a Phoenix-like figure emerging from a hillock bursting from a treed hillside.  The Red Tree almost seems to ready to take flight.  I see it as a moment of realization and redefinition.

Here is the Silk Road Ensemble with Y0-Yo Ma performing Ascending Bird.  The version here is a shorter one but has the dynamic punch that struck me.  You can hear a longer version here. Give a listen and have a great Sunday.

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Jigsaw Planet- Early Riser GC MyersI was going through some older posts from this blog when I came across a couple that featured some of my paintings on the website Jigsaw Planet.  It’s a site that allows viewers to either choose from a large group of puzzles or to upload their own images and create jigsaw puzzles that they can assemble on their screens.  It’s an interesting diversion.

For me, the interest comes in seeing my colors and forms deconstructed, getting to see them in singular bits that allow me to examine their texture and depth away from their normal surroundings.  I am sometimes surprised, mostly pleasantly so, by what I see.  And, despite having an advantage in knowing these painting intimately, I still struggle at some points in putting them back together– mainly because I find myself just examining the individual pieces for an extended period of time

So this morning I went to a page on the Jigsaw Planet site from a regular reader of this blog who goes by the moniker TheWOL ( and who also writes a blog called The Owl Undergound) and has posted a number of my paintings there.  There were a couple of new paintings that are featured in my upcoming June show at the Principle Gallery so I thought I’d share one with you today.  It’s Early Riser which you can see in full at the bottom and in partial reconstruction above.

If you want to try your hand at figuring out the puzzle of this painting or any of the others TheWOL has posted, click here.

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GC Myers- Highest GroundI’m so glad that he let me try it again
‘Cause my last time on earth I lived a whole world of sin
I’m so glad that I know more than I knew then
Gonna keep on tryin’
Till I reach my highest ground

Stevie Wonder, Higher Ground

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Another new painting headed for my show, Part of the Pattern, which opens June 3 at the Principle Gallery in Alexandria, VA.  This piece is 8″ by 14″ on paper and is titled Highest Ground, borrowed from the chorus of the great Stevie Wonder song.

This is an easy piece to absorb at first take with its mix of deep warm and cool colors and simplified composition.  But despite that, there’s a lot of going on in this piece. It both feels soothing as though it represents a sort of safe haven but it raises questions.  If this is a safe haven, what is it safe from? Is this an end of the world scenario?  There’s a boat but nobody seems to be present– where are they?

And the ladder is a new element here.  I see it as a symbol of a continual upward climb toward some sort of final personal fulfillment.  A spiritual endpoint.  As the song says– gonna keep on tryin’/ Till I reach my highest ground.

 Here’s Stevie Wonder’s song to help me along as I continue to look at this piece for a while.

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GC Myers-  Prismatic Moment smThe soul becomes dyed with the colour of its thoughts.

–Marcus Aurelius, Meditations

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When I was in the early stages of this piece, I wasn’t quite sure what I thought of it.  It just seemed too much.  Too much color.  Too much vibrancy.

But as I tweaked here and there, deepening some colors and inserting lighter segments, it seemed to coalesce into something that needed that vibrancy in order to express whatever it held within.  As the final marks were made and it was finished, that initial uncertainty was wiped away.  That thing that I had saw earlier as its weakness had become its strength.

I’ve spent a lot of time looking at this piece over the last week or so and there’s something about it  that keeps drawing me back to it.  Maybe it is simply the colors  or the meditative stillness between the Red Tree and the Moon.  I don’t know for sure.

I call this piece, which is a 12″ by 24″ canvas, Prismatic Moment.  I have spoke before of us all being prismatic beings, filled with many colors, dimensions and sides but seldom showing but only a few of these things to any other person.  I see this painting as being one of those rare moments when one is fully expressed, when one is seen for exactly who and what they truly are.

I don’t know if we have many of those moments in our lives.  I think they may be rare but I could be wrong.  Do we ever fully see another person for all their colors and sides?  And do we ever truly show all our own colors and sides?  This piece makes me consider that thought…

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GC Myers- A Hard PastIt’s Mother’s Day again. You might think the image I am showing today is an odd selection for this day. It’s a small painting called A Hard Past that is from my 2008 Outlaws series.  It’s one of a few pieces that I deeply regret ever letting go as it holds personal meaning for me.  I just didn’t realize this at the time.

I know that this may not seem like a flattering thing to say but every time I look at this image I see my Mom’s face.  At least,  a certain look she had when she was sitting by herself in silence at the kitchen table, drinking a cup of tea and smoking her ever-present Camel cigarettes, those unfiltered beauties that no doubt contributed to the lung cancer that took her life at age 63.

She would sit in stillness for a long period time at that table with a distant and hardened gaze on her face.  I always wondered what she was thinking or where she was in that moment.  But when you’re a kid you just move through the kitchen without a word or a question.

More’s the pity…

The title, A Hard Past, came from this memory of her.  She had a pretty hard life- her mother died when she was three,  no school beyond ninth grade, years of toiling in a factory and a long, turbulent and angry marriage to my father.  It gave her a hard edge, a toughness that several people commented on after her death back in 1995.  But they also commented on her humor, generosity and willingness to help others who might need a hand– those qualities that I also saw in her.  Those qualities that I so miss.

So while it may not seem like a flattering tribute, just seeing my Mom in this piece means so much to me.

For today’s music, I’m going with her favorite, Eddy Arnold, and a song that she probably felt fit her like a glove, You Don’t Know Me.  It’s a classic song that Arnold is credited with co-writing along with songwriter Cindy Walker in 1955.

Have  great Mother’s Day…

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GC Myers-  In the Waiting sm… I said to my soul, be still, and wait without hope

For hope would be hope for the wrong thing; wait without love

For love would be love of the wrong thing; there is yet faith

But the faith and the love and the hope are all in the waiting.

Wait without thought, for you are not ready for thought:

So the darkness shall be the light, and the stillness the dancing.

-T.S. Eliot, East Coker, The Four Quartets

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I’ve been in a deep groove lately as I ready work for my upcoming June show, Part of the Pattern, at the Principle Gallery.  Part of finding this groove was returning in the last month or so to process of  transparent inkiness that marked the early incarnations of my work.  An example of this is the piece shown above, a 6″ by 24″ painting on paper that I am calling In the Waiting, taken from the Eliot lines above.

The strength of this wet work, at least for me, is in the way the fluidity of the paint creates the tension and contrast that carries the emotional content of the painting. The duskiness where light and dark comes together is filled with the anticipation of all that is to come, all unknown to the waiting Red Tree who attempts to tamp down its desire to imagine what is coming.

The goal is to put aside any faith or hope or love –as Eliot puts it so beautifully– and simply await the inevitability of what is to come without thought. But that stillness of thought makes the waiting tolerable and allows us to view that which is before without the influence of our desire, to see things as they really are.

But as we all know, that is easier said than done…

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2016 Smithsonian Photo Contest Winner- The China Red- Jian Wang

2016 Smithsonian Photo Contest Winner- The China Red- Jian Wang

I came across the photo above this morning which is titled The China Red.  It was shot by photographer Jian Wang at Olympic Forest Park in Beijing, China and is the winning image in the Mobile Category of the Smithsonian’s 13th Annual Photo Contest.  I spent about five minutes just staring at it, transfixed by the pattern of the shadows and colors.  Just a great image.

The color and forms incorporated in the photo reminded me of some of the work from the Precisionist painters such as DeMuth and Sheeler.  I thought I would share the following post from back in 2009 about Demuth:

demuth-number-5I’ve been a fan of Charles Demuth since the first time I saw his work.  He was considered a part of the Precisionist movement of the 20’s, along with painters such as Charles Sheeler and Joseph Stella among many others, with his paintings of  buildings and poster-like graphics such as this painting, I Saw the Figure 5 in Gold.  He was also one of the prominent watercolorists of his time and while they are beautiful and deserve praise in their own right, it’s his buildings that draw me in.

Demuth’s work has a tight graphic quality but still feels painterly to me.  There’s still the feel of the artist’s hand in his work which to me is a great quality.  There are photorealist painters out there whose craftsmanship I can really admire but who are so precise that they lose thatdemuth-my-egypt feel of having the artist’s hand in the work.  I like seeing the imperfection of the artist.  The first time I saw one of the Ocean Park paintings from artist Richard Diebenkorn, it wasn’t the composition or color that excited me.  It was the sight of several bristles from his brush embedded in the surface.  To me, that was a thrill, seeing  a part of the process.  The imperfect hand of the artist.  I get that feeling from Demuth.

He also had a great sense of color and the harmony and interplay of colors.  His colors are often soft yet strong, a result of his work with watercolors.  His whites are never fully white and there are subtle shades everywhere, all contributing to the overall feel of the piece.  His work always seems to achieve that sense of rightness I often mention.

His works, especially his paintings of buildings, have a very signature look, marked by a repeated viewpoint demuth-after-all where he views the buildings above him.  His paintings are usually fragments of the building’s upper reaches.  There’s a sense of formality in this view, almost reverence.  I don’t really know if he was merely entranced by the forms of industrial buildings or if he was making social commentary.

Whatever the case, do yourself a favor and take a look at the work of Charles Demuth.  It’s plain and simple good stuff…

Buildings, Lancaster 1930demuth-from-the-garden-of-the-chateau

demuth_charles_aucassiu_and_nicolette_1921

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GC Myers- Peaceful Abode

-Isaiah 32:18

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This new painting, a 24″ by 18″ canvas, is titled Peaceful Abode.  and is part of my upcoming June show, Part of the Pattern, at the Principle Gallery in Alexandria, VA.

This piece has a bit of a different look even though it falls easily into my body of work. Maybe it’s the slight change in coloration or the slightly altered perspective from the rise of the hillside behind the lakefront buildings.

I don’t really know and, to tell the truth, I don’t want to think too much about it for fear of over-analyzing it.  I’ve enjoyed looking at this piece for the last week or so and find that it has a peaceful quality in it that is very soothing.

It takes me to a place far away from the rancor of politics, the horrors of violence we inflict on one another and the general chaos of our time.  It is the antithesis of nearly everything I see on the cable news networks.

The whole perspective of this piece seems to be inward looking, seeking that quiet and placid spot.  And looking at this piece, I believe for a brief moment that I have found it.

And that’s a good thing…

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Vincent Van Gogh Wheat Field in Rain 1889If you work diligently… without saying to yourself beforehand, ‘I want to make this or that,’ if you work as though you were making a pair of shoes, without artistic preoccupation, you will not always find you do well. But the days you least expect it, you will find a subject which holds its own with the work of those who have gone before.

-Vincent Van Gogh

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I really just wanted to show these two Van Gogh paintings that feature the falling rain as part of the overall composition.  I recently have been particularly interested in seeking out  lesser known Van Gogh paintings.  There is something quite exciting about these more obscure pieces, something that fills in the blanks between the better known work.

But beyond that, the sentiment above from Van Gogh really resonates with me.  Sometimes it seems as though those paintings which you aim at with all your greatest effort fall flat while on those days when you have little idea of where the work will go, something special emerges quite unexpectedly.

It is those days and those painting that you crave as an artist.  Oh, it is gratifying to create work that you feel is well within your body of work.  That is to say, work which follows a path you have trod upon many times before.  But to have those days and those pieces that surprise you– well, that is beyond gratification.  It has an almost religious aspect,  like a confirmation of one’s belief in something greater.

But those days are often rare and come without a hint of what may emerge.  Even sitting here now, I don’t know if today will be one of those days.  But just knowing that it is possible makes me anvious to get at it.

Enjoy the Van Goghs and I am going to move into my day.

Vincent Van Gogh-Landscape at Auvers in the Rain 1890

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