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Archive for the ‘Quote’ Category


What can we gain by sailing to the moon if we are not able to cross the abyss that separates us from ourselves? This is the most important of all voyages of discovery, and without it, all the rest are not only useless, but disastrous.

Thomas Merton

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Tonight is the opening for my new show at the Kada Gallery. The piece above, The Night Run, is part of the show and a piece that really connected with me as I was painting it.

Part of that connection comes from the juxtaposition of color and contrast in it and the visceral response those elements bring in myself.

But part , perhaps the biggest part, of this connection comes from the symbolism of the sailboat cutting through waves and darkness, trying to find a suitable place to land guided by a source of light that often is obscured or disappears completely. But when this light breaks through, the destination becomes clear and apparent. The journey takes on a purpose.

That is a fitting metaphor for how I see my life as a painter. There are many days when it seems that I am sailing in total darkness and have no idea where I am headed or if I am even moving in any direction at all. I feel small and at the mercy of the deepness of the dark and the power of the waves that push against me.

But on better days, when the light breaks through, I feel strengthened and my sails fill, sending me gliding ahead. It’s so easy and refreshing then and I feel strong, vital. The journey seems to have purpose at that instant.

That speaks my experience but I think it also applies to many of us in all walks of life. I believe very few of us feel as though we are sailing in clear skies and on calm seas on most days. Most of us don’t even have a destination plotted out.

Now, the hard part is at something like an opening when the painting is right there saying all these things and I am standing there, alongside it. These are inner feelings and it’s not always easy speaking to these in a public setting, not knowing sometimes who you are speaking with or if they simply like the colors. Or boats.

But I try to gauge their connection and if they seem truly interested and ask, I will tell them what the work means to me, letting them know that to me they are more than mere scenes made from paint smeared on a surface. No, I view them as a vital part of my journey, a log of where I have been and where I am going.

So, that’s what I am doing this morning before I head out for tonight’s opening– readying myself to speak about such things on whatever level might be needed.

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Hope to see you tonight at the Kada Gallery. The opening reception for the show, Sensing the Unseen, runs from 6-9 PM. The show hangs in the gallery until January 3, 2018.

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For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfill themselves according to their own laws, to build up their own form, to represent themselves…

Hermann Hesse, Trees: Reflections and Poems

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The painting at the top is titled The Spirit Tree and is part of my show, Sensing the Unseen, that opens tomorrow at the Kada Gallery. It is 11″ by 15″ on paper.

Trees have always held a firm spot in my heart as symbols of strength, wisdom and calm perseverance. My early memories of childhood often revolved around the black walnut trees in our yard and the hardwoods on the hill behind it. When I was among those trees I felt at home, safely in a realm that moved at pace that was beyond our own idea of time. Ageless.

Even now while the world teeters on the edges of chaos, walking among the trees is a source of great comfort, letting me know that as dire as it may seem this period of time is but a hiccup in the great continuum of the time of trees.

And that is how I look at this piece and the central tree. It stands strong and with an air of ageless wisdom, creating a band of light between the darkness of the earthly dwellings and that of the foreboding sky. As Hesse wrote above, like the most penetrating preacher.

That piece of writing at the top is from Hermann Hesse is from an essay in his book, Trees: Reflections and Poems. It’s a piece of writing that I adore and have posted here before. To read the longer version of this essay  click here.


Sensing the Unseen is now hanging at the Kada Gallery in Erie. The show opens with a reception tomorrow, Friday, December 1, running from 6-9 PM. I will be there to answer your questions or just shoot the breeze. I look forward to seeing and meeting you there.

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Sensing the Unseen

“What good is the warmth of summer, without the cold of winter to give it sweetness.” 

― John SteinbeckTravels with Charley

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Omega Tree

Friday is the opening for my show, Sensing the Unseen, at the Kada Gallery. In my opinion, it’s a strong show with some interesting groupings within it. For instance there are several snow scenes, something I normally have done only once in a great while in the past. There was something different in painting these scenes this time however, something I can’t really identify except to say that these seemed more expressive right as the paint left the brush.

I really just enjoyed painting these. Finding the subtle colors in the white of the snow and sky was fascinating and rewarding. It just felt good as I definitely was immersed during the process.

Time is short today as I am delivering the show at the Kada Gallery, but I thought I would show the group of snow paintings together here. Come out to the gallery to see them in person. They always look better up close, in front of you, rather than on a screen.

Mystery of the Unseen

Through the Valley of Quiet

Cool Wonder

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“How can it be that I’ve never seen that lofty sky before? Oh, how happy I am to have found it at last. Yes! It’s all vanity, it’s all an illusion, everything except that infinite sky. There is nothing, nothing – that’s all there is. But there isn’t even that. There’s nothing but stillness and peace. Thank God for that!”

Leo Tolstoy, War and Peace

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There’s something about this new painting that has wonderful calming effect for me. I find it easy to ease myself into this piece for a few moments, leaving behind for that time all the worries and concerns that are eating at me.

When I was looking at this painting in the studio I felt like I was looking at an aquarium or a terrarium, something that was right there in front of me but separate from me, a world unto itself, a unique eco-system that exists only in that one place. But instead of seeing fish or reptiles or plants, this was a self-contained world of peaceful feeling- a placidarium.

So, that is the title– Placidarium— that I have chose for this 12″ by 12″ painting that will be part of my show at the Kada Gallery that opens this Friday. It’s a painting that I will be sad to see go – a working placidarium is hard thing to come by these days.

 

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You see, the point is that the strongest man in the world is he who stands most alone.

― Henrik Ibsen, An Enemy of the People

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This is another new painting that is headed to the Kada Gallery for my show, Sensing the Unseen, that is opening there on Friday, December 1. It is titled Resist the Dark and is 8″ by 24″ on canvas.

There are a lot of possible interpretations for this piece, the most obvious being to the current state of affairs in this country and the resistance of many citizens to the actions of this administration as they seek to strip away many protections– financial, environmental and regulatory– that seem to only benefit the wealthiest of us and leave many of us vulnerable to the whims of large corporations. You may not feel this way– and if not, I both envy and pity you– but many folks feel like this country is living under a dark cloud at this point and without resistance it will only get darker.

This resistance to an impending darkness is the most obvious reading of this piece but it can also be taken to a more personal level, one where each of us has to stand our ground again the darker impulses we see being played out every day. We cannot personally fall prey to feelings and actions borne of hatred and prejudice nor can we stand idly by while others act out their own hatreds and prejudices.

Each of us is a barrier, a dam, against the baseness and incivility that is always ready to flood over us, if given the chance. There have been breaches in the dam as of late, these darker aspects getting bolder and stronger. It grows because it is allowed to do so, because many find it easier to accept the darkness rather than stand firm and shine their light into it.

Don’t let that darkness become your darkness.

If each of us stands our ground, even when it seems we are alone in doing so, the darkness will recede and return to the far corners where it has lived in anonymous shame for so long. And that is the only place where it should exist, which is still more than anything that thrives on hatred, fear and prejudice deserves.

Okay, that’s enough for this Sunday morning. Here’s a song from the 1960’s from the late, great pianist/composer Vince Guaraldi who you most likely know from his iconic music for the Charlie Brown specials. You most likely will hear a lot of his music from  A Charlie Brown Christmas this holiday season. Unlike some holiday music, I never get tired of hearing his stuff. This song is not a holiday song however. This song, Cast Your Fate to the Wind -which seems to fits this painting- was released in 1962, winning the Grammy for Best Jazz Composition, and has been recorded many, many times by other artists. It’s a nice way to kick off a Sunday morning.

Give a listen and have a great day. And resist the darkness…

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But I believe above all that I wanted to build the palace of my memory, because my memory is my only homeland.

Anselm Kiefer

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I came across this quote from artist Anselm Kiefer and it immediately struck a chord with me.

There is always a nagging question running through my mind about the purpose of my painting, at least for myself. The why behind the what. And this brief quote seemed to capture some of what I have been thinking about that.

While I am attached to the area in which I live, a place that my family has been in for about two hundred years now, I have come to feel that the landscape in my paintings is my real homeland. It is a construct built from memories and imaginings, a place that feels real but allows for exaggeration and embellishment.

When I visit real places from my childhood, I only see them briefly as they really are in the present. Then they revert to the image drawn in my memory–my real and only homeland. The body of my work is in a way a palace of that memory, a residence for what I am, was or will ever be.

I call the painting shown here, The Palace of My Memory, of course. It is 12″ by 6″ on panel and is part of my show, Sensing the Unseen, that opens in Erie’s Kada Gallery next Friday, December 1. I am excited by this show and am looking forward to seeing it all together on the walls of the gallery. Hope you can make it.

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GC Myers- A Small SerenityWe are not going to change the whole world, but we can change ourselves and feel free as birds. We can be serene even in the midst of calamities and, by our serenity, make others more tranquil. Serenity is contagious. If we smile at someone, he or she will smile back. And a smile costs nothing. We should plague everyone with joy. If we are to die in a minute, why not die happily, laughing? 

― Swami SatchidanandaThe Yoga Sutras

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I call this new painting, A Small Serenity. It is a tidy 6″ by 12″ canvas that is part of my show, Sensing the Unseen, at the Kada Gallery which opens next Friday, December 1.

It’s a small and simple piece but it has a lovely feeling of tranquility in it, one that far exceeds its humble size. If anything, its dimensions enhance its sense of serene quietness.

And perhaps that is how a contagion of serenity begins, as a small seed within ourselves. A tiny feeling of peaceful tranquility that grows then bursts from us, radiating outward to infect those around us and hopefully through them to others.

And on and on and on.

The cynical part of me knows that such a plague of joy is improbable but looking at this little painting for a moment gives me the serenity to hope and ask,“Why not?” What harm could be done in being kind and calm or in wearing a smile? As the late Swami Satchidananda says above, a smile costs nothing.

So, let’s start this plague today. Shouldn’t we all feel free as birds?

 

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The Deer

Sun-bleached bones were most wonderful against the blue – that blue that will always be there as it is now after all man’s destruction is finished.

-Georgia O’Keeffe
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It’s the first day of deer hunting season here. I watched two young bucks a few minutes ago in front of the studio. One was very young and small with two prongs jutting from its head while the other was older and heavier. His rack was larger, 8 points, I think. There was a familiarity between them and they bumped heads in the way bucks do when they joust for dominance except that this was gentle and almost instructive. The little guy jumped backward and the larger one went back to grazing.

Then a third buck appeared, heavier through its shoulders and neck with a rack that was thicker than the buck that was already here. This newcomer immediately took umbrage at the little guy and chased him around a bit and finally up into the pine forest that surrounds my studio. He paid no attention at all to the other buck. He came out of the forest with a twiggy branch tangled in his rack, dangling out in front of his head.

He then looked at the lone doe on site as she grazed with her hind quarters to him. He slowly advanced towards her in a comical manner. If this were a cartoon he would be tip-toeing towards her with that branch acting as some sort of goofy camouflage. But she took notice and ducked under one of my large rhododendron bushes, leaving him there alone. He put down his head to eat at the grass and the branch dropped free.

I look out now and he’s still there, looking around. I silently send him my best wishes for the next few perilous weeks. There is always a little anxiety at this time of the year for these ones that I know so well. I have seen so many of these deer on a daily basis for years that I recognize some quite well, having watched many of them grow from tiny fawns to strong bucks and does. And I think they recognize me as well and have a certain comfort level with me and this place.

It makes me feel a bit protective of these beautiful creatures. Be careful out there and stay safe, my friends. I’m talking to the deer, of course, but if you are a hunter the same advice goes out to you.

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“No one lights a lamp in order to hide it behind the door: the purpose of light is to create more light, to open people’s eyes, to reveal the marvels around.”

-Paolo Coelho, The Witch of Portobello

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This is a new painting that is headed to the Kada Gallery in a couple of weeks for my show there, opening December 1. I call it The Lantern Is Lit and it is an 18″ by 24″ canvas.

Light is a big part of being a visual artist. You deal with the nature of light, using light and dark to create images. Color itself is light. There is also the symbology of light with the contrast of light and dark representing many things– good and evil, beginnings and  endings, life and death, etc.

Light in this painting is very much a symbol, one of a revealing of wonders. It symbolizes an awakening from a darkness in which we have spent much of our time sleepwalking, just following others and bumping along without much consideration of our own will and desire. We simply take what is directly in front of us in the darkness.

The lantern here is a rising sun that reveals an expanding world beyond our own closed-off one that exists in shadow. Those field rows we have mindlessly worked for so long finally move out to a far horizon with distant hills and fields that have yet to be worked, have yet to be shaped. To a place that allows for expansive thinking, a place to remake ourselves, a place to see the wonders of the world in a bright and direct light.

That’s what I see in this painting– a revealing of light that pulls us from out of shadow.

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Color Vibration

Color which vibrates just like music, is able to attain what is most general and yet most elusive in nature.

– Paul Gauguin

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I came across this line that Gauguin had written in a letter to the poet Andre Fontainas and it reminded me of how I often compare painting to music, how I try to find that  rhythm, maybe the vibration to which Gauguin alludes, in my work that has the same effect on the viewer’s unconscious mind as does music. That thing that would make my work, like music, communicable across all boundaries. Something that would easily be absorbed as an emotional response without first having to dissect it intellectually, like music that you hear for the first time and react to without thinking, often finding it still vibrating in your mind for days and weeks afterward.

It’s a grand aspiration and I am never sure if I ever reach that goal. But I do keep hoping and trying.

I chose the painting above to illustrate this post because I like the simplicity and harmony of it. Titled Ever, it’s a 15″ by 18 ” piece on paper that is as much an abstraction, with its spare forms and lines, as it is a depiction of reality. My hope is that the color and harmony of this piece creates a vibration or rhythm that overcomes the unnaturalness of it, allowing it to make an emotional  contact before the mind finds some intellectual objection.

Again, a grand aspiration.

Reading back over this, I have to say that I don’t sit before my easel or table and ponder these concerns before I start to work. I often only think about these matters when I come across a quote or a line like the one above from Gauguin. These words often make me wonder about my own aspirations for my work, what they are and how they compare to the painters of the past whose work I admire. I guess I am looking for a commonality in our views that connects us somehow, even though our work may not reflect this bond.

Another grand aspiration.

The entry above was first posted here back in 2011. I chose to run it again today because as I prepare for my show that opens in a bit over two weeks I find myself seeing the importance of  color in my work, even more than form and subject. It has it’s own feeling, its own rhythm and harmony– the vibration described above. It propels the work and makes certain pieces resonate like visual music.

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