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Last Night…

Many, many thanks to everyone who made it out to last night’s opening for Moments and Color at the West End Gallery. It had a wonderful turnout and there were many folks who I didn’t get a chance to speak with, unfortunately. And that was with me staying at the gallery until almost 8:30. My apologies to anyone who I didn’t get a chance to get to.

There were plenty of new faces and many old friends, some who came in from quite a distance. I can’t express my appreciation for their willingness to make the effort and take the time to travel to the gallery opening.

Thank you so much.

Of course, the Multitudes paintings got a lot of attention, particularly the boat pieces shown here at the top. I was pleased by the overwhelmingly positive response to this new work. But I was also happy with the equally enthusiastic response to the other work in the show.

It was a good show and a good evening. Many thanks…

The show hangs until August 30 and on Saturday, August 17, there will be the Gallery Talk that accompanies this show. There will plenty of details shared here on that event in the weeks to come. Hope you can make the talk.

Well, the opening for Moments and Color, this year’s edition of my annual solo show at the West End Gallery, is here. The reception begins tonight at 5 and runs until 7:30 PM at the gallery on Corning’s Market Street.

The show hangs in the gallery from tonight, July 12, until August 30. I hope you can make it tonight but if not, there’s plenty of time to see this show.

My annual Gallery Talk at the West End is on Saturday, August 17, beginning at 1 PM. There will be plenty of details on the Gallery Talk in upcoming weeks. It’s always a popular event and one that I think is a lot of fun. That’s just my opinion but folks keep coming back so maybe I’m not too far off base with that assessment. While there will be snacks and prizes, I am thinking of doing this year’s talk completely in yodels so take that into account when making your plans.

I want to take a moment to thank Jesse, Lin and John Gardner (and Tom Gardner who gave me a critique that changed my life) at the West End. It has been my pleasure to be part of the gallery now for what will be 25 years next February. Without the start they gave me and without the encouragement they have offered over the years, my life would certainly be much different than it is at the present time. For example, you most likely wouldn’t be reading my blog– unless you are prone to reading the blogs of a Walmart greeter.

I thank them for welcoming me into a world that I could barely imagine at the time and for allowing me to grow on my own terms. All an artist can ask for. Hopefully, we will be able to work together for many more years ahead. That would be a wonderful thing.

That being said, I believe this exhibit might be near the top of all the shows I’ve done at the West End, especially in terms of variety and consistency. I think this show has a real presence– each piece with its own evident vibrancy and life– in the space.

Again, all an artist can ask for.

Hope you can make it in.

 

 

Mountain Etude

The piece above is called Mountain Etude. It’s a new 24″ by 30″ painting on canvas that works on a couple of levels for today’s blog post.

First, it is included in my solo  show, Moments and Color, that opens tomorrow, Friday, July 12, at the West End Gallery. It is one of a group that includes a new element in the form of the multi-colored flower beds along with the more recognizable Red Tree and Red Roofs.

Second, it is a nice illustrative point for a new article that came out this week in one of my favorite regional magazines, Mountain Home. I wrote about Mountain Home here back in 2010, describing the great quality of the writing as well as the journalistic pedigree of its founders and publishers, Theresa and Michael Capuzzo. They do a top notch job in covering the interesting aspects of this region which includes the Northern Tier of Pennsylvania and the Finger Lakes of New York.

They did a story on my work for the July issue. Jennie Simon, a writer based in Ohio with roots and connections in this region, did a phone interview with me and also visited the Kada Gallery in Erie, PA and the West End Gallery in Corning. Jennie had space limitations to deal with but produced a an article with a lot of info in a very concise manner.

Thank you, Jennie, for doing a bang up job. I truly appreciate it.

The magazine should be in outlets this week but you can read the article online by clicking here. Please take a look at the rest of the issue as well. Much to my liking, this month’s issue has articles about a local connection to major league baseball and the Bare Knuckle Hall of Fame out in Belfast in Allegany County. That area of western NY is now very rural and sparsely populated but just over century ago it was a hotbed of activity.  It was the center of a lumber boom as well as being adjacent to the oil boom taking place just to the south in northern Pennsylvania.

With its large population of young men in the lumber and oil fields and few distractions to occupy them in their off time, it became a center of sporting activity with boxing and wrestling matches taking place regularly between nationally known athletes. It’s a fascinating era and one that strikes close to the bone for many local residents. I know that, in both my family and that of my wife, there were a number of ancestors involved in the lumber field in this region. I had a great-great uncle who played in a band in one of the many hotels that sprung up to serve the oil field workers of that time.

While he didn’t travel as far west as Belfast for his matches, my grandfather, Shank Myers, had a professional wrestling career in the early part of the 20th century that coincided with this boom. In fact, one of the men enshrined in the Bare Knuckle Hall of Fame, Ed Atherton, has ties to my hometown and my grandfather. Atherton is an interesting case and I thought I had shared his story here before but cannot find it this morning. I will write more on him at some other time.

Anyway, please take a look at all of the current issue of Mountain Home. And please stop in at the West End Gallery anytime to see the show or spend a few minutes talking with me at the opening reception tomorrow night. It is open to all and runs from 5-7:30 PM on Friday, July 12, at the West End Gallery on Corning’s historic Market Street.

Meditatio (Reborn)

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“You say I am repeating 
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
You must go by a way which is the way of ignorance.
In order to possess what you do not possess
You must go by the way of dispossession.
In order to arrive at what you are not
You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own 
And where you are is where you are not.”

― T.S. Eliot, East Coker

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This is a another painting from my upcoming solo show, Moments and Color, at the West End Gallery that opens Friday. It is called Meditatio and it is a painting I have shown here before. It was painted last year but as it sat here in the studio awaiting this show, I saw things in it that made me want  to change the painting a bit.

I lightened the center of it with a few small additions of new paint to the moon and Red Tree, giving it more light. That very much changed the attitude of the piece but it transformed even more when I changed the plain black band that had surrounded the central image to a bronzed burgundy. This new band color altered the experience of the painting, giving the whole thing a warmer glow.

I thought it was strong painting before, one with a meditative presence that definitely stood out in my mind. But these seemingly small changes transformed it greatly. It still feels meditative, as the title implies, but in a more welcoming way.

I see these words above from T.S. Eliot’s East Coker as part of a conversation between the Red Tree and the rising sun/moon, who points out that it repeats its lesson with each new rise. And though it is repetitive, it is no less meaningful and instructive.

I will let you read into it what you will but I particularly love the last line here– And where you are is where you are not.

That could very well sum up my work.

Hope you get a chance to see this piece at the West End Gallery. The opening is Friday, from 5-7:30 PM.

 

The Homily

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“And He will judge and will forgive all, the good and the evil, the wise and the meek . . . And when He has done with all of them, then He will summon us. ‘You too come forth,’ He will say, ‘Come forth ye drunkards, come forth, ye weak ones, come forth, ye children of shame!’ And we shall all come forth, without shame and shall stand before him. And He will say unto us, ‘Ye are swine, made in the Image of the Beast and with his mark; but come ye also!’ And the wise ones and those of understanding will say, ‘Oh Lord, why dost Thou receive these men?’ And He will say, ‘This is why I receive them, oh ye wise, this is why I receive them, oh ye of understanding, that not one of them believed himself to be worthy of this.’ And He will hold out His hands to us and we shall fall down before him . . . and we shall weep . . . and we shall understand all things! Then we shall understand everything! . . . and all will understand” 

Fyodor DostoyevskyCrime and Punishment

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This new painting is an 18″ by 36″ canvas that is included in Moments and Color, my annual show of new work at the West End Gallery that opens this coming Friday. It was completed for quite some time before I finally settled on a title for it. Every title that came to mind seemed too trite or too well worn for this piece.

The Red Tree and its placement here give me the impression of someone standing before a group while delivering some sort of moral or spiritual instruction. Sermon on the Mount sort of stuff. The setting here has a placid feel and the location of the Red Roofed houses give the impression that they are rapt listeners.

It all gives this piece a feeling of great serenity.

With this in mind, I finally settled on The Homily as a title. A homily is a story that is often part of a religious sermon that demonstrates a moral or spiritual lesson in practical terms and contemporary settings. And I can see that here. Without it espousing the tenets of any religion, it has a spiritual feeling for me, one that serves as a practical illustration of peace and acceptance. It’s as though the Red Tree is calmly telling those around it to see the beauty and tranquility that surrounds them even in times of chaos.

There’s a sense of certainty to this piece that feels religious to me. It’s the kind of certainty I never had for myself or fully understood in others. But looking at this now, I can almost understand that certainty. Its actually beyond religious. I see it more as an inner belief that one has that allows them to remain calm in dire times, knowing that they have the ability to persist.

That even though the world around them changes, that they can adapt and prosper because their core values remains intact.

And maybe what this, a representation of those core values, whatever it is that brings us inner peace and serenity.

It’s early and my eyes and mind are still trying to focus so these few paragraphs may not be a homily. But they are an attempt, like this painting, to point out our need for peace, for those moments of tranquility that allow us to continue onward in a world that often seems out of our control.

Maybe its the understanding that Dostoyevsky speaks of at the top.

Hope you find it for yourself.

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This painting, The Homily, is part of Moments and Color, my exhibit of new work now hanging at the West End Gallery in Corning. There is an opening reception this Friday, July 12, running from 5-7:30 PM. Hope to see you there.

 

 

Let the New Day Begin- at the West End Gallery Now

The work for this year’s edition of my annual solo show, Moments and Color, is now hanging in the West End Gallery, all ready for the opening this coming Friday, July 12. I put together a video slideshow of the work from the show which is below.

This was an interesting project, in that it was hard setting the lineup for the images in this video. I couldn’t frontload the video with what I might consider the best pieces because I couldn’t rank them. There’s great consistency across the board that made deciding difficult. Each time I tried to move a piece up or down in the lineup, it didn’t seem to make a difference in the quality or feel of the video. I think you could watch this backwards and would get the same visceral experience from it.

And I like that. That consistency has always been a point of pride for me. I like to think that every piece, from the smallest and simplest up to the largest and most complicated, has the same level of consideration and effort.  After all, big or small, they all represent me out in the world and to skimp on one in effort or any other way diminishes them all.

This show has a lot of facets, a lot of familiar and new looks, but it just hangs together well. It’s a show that gives me a lot of satisfaction on a number of levels. Please take a look at the video and if you’re in the Corning area, please stop in for the opening on Friday, from 5-7:30 PM. I look forward to seeing you there!

 

La Belle Vie

Stopped in at the West End Gallery yesterday to see how the work from my new show, Moments of Color, looked on the walls.

I was pleased.

You can only get a small sense of how the work for a show will hang together when it’s still in the studio. The paintings are scattered all over, some in different rooms and some obstructing others. Almost none of them are in frames. I never get to see them fully presented, hanging clearly in direct relationship to one another.

So it’s always interesting to see how the show comes together on the walls, to see if a unifying theme emanates, and to see what pieces jump forward. In this case, the color mentioned in the show’s title is made abundantly clear. It is a show filled with color.

I’ve written here before about coming to painting because I wasn’t seeing the paintings I wanted to see, wasn’t experiencing the colors I wanted to feel. This  show comes close to meeting that desire for color, especially the fully saturated deep tones. They show themselves well on the gallery walls and actually serve as the unifying theme for the show. Even in the Multitudes pieces that feature masses of faces, it is the color of those pieces that binds them to the other works in this show.

One of the pieces, along with so many others, that seemed to jump off the wall for me was the piece shown above, La Belle Vie. That translates from French as the good life or the beautiful life. Either works for me. With its clarity of line and color in its skies, hills and flowerbeds along with its size, 36″ high by 18″ wide, it is a piece that has a real presence on the wall for my eyes.

As an artist, sensing that presence in a piece is an extremely gratifying feeling. It’s a feeling of completeness, as though I have done as much as I am capable of in this piece at this point in time. And that makes it a statement of who and what I am as an artist– and a person– at this point. I guess that kind of sums up my feelings on this painting.

Jesse and Lin have done a tremendous job hanging this show. Hope you can make the opening reception at the West End Gallery this coming Friday. It begins at 5 and runs until 7:30 PM. If not, hope you can stop in and take a look.

For this Sunday morning music, I have chosen a song called Beautiful Tango sung by Hindi Zahara, a Morocco born singer that is based in Paris. Love the feel and pace of this song. It seems to jibe well with La Belle Vie above. I could see the Red Tree dancing a tango here. Give a listen and have a good day.

 

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I want to live alone in the desert
I want to be like Georgia O’Keeffe
I want to live on the Upper East Side
And never go down in the street

Splendid Isolation
I don’t need no one
Splendid Isolation

–Warren Zevon, Splendid Isolation

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Over the next several days I will be showing paintings from my upcoming show, Moments and Color, that opens Friday, July 12, at the West End Gallery. Today is a piece called Pondering Solitude, a 24″ by 24″ canvas, that was a favorite of mine during its time here in the studio.

Like much of my work, I can’t exactly put my finger on any one thing in this painting that makes it hit the mark for me. Maybe it’s something as simple as the color combinations or the way the light flows within the composition. Or just the simplicity of it as a whole. Or the feeling of warm solitude it emotes.

Again, I don’t know. That probably sounds strange to some of you. After all, I painted it so shouldn’t I know the entire what and why of a piece I have created? You would think so, wouldn’t you?

Oddly enough, in my best work–or at least what I feel is my best work– I have no answers. And that makes sense to me because the work is for me a way to get enough clarity to understand enough to be able to ask questions. Then, hopefully, answers emerge.

It’s hard to find answers when you don’t really know the questions.

And that is kind of the story of this piece. I see it as the Red Tree feeling a need for clarity and light, answers to questions that it can’t articulate, and finding solace in the light and warmth of its solitude.

There is more likely than not more to say here but I think I am leaving it at that for now.

I used some lyrics from the song Splendid Isolation from the late Warren Zevon above. Here is the song.

 

 

Sublime

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“Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt”

― Immanuel KantCritique of Pure Reason

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The painting shown at the top is titled Sublime. It is a new 24″ by 48″ canvas that is included in my show, Moments and Color, that opens a week from today on Friday, July 12, at the West End Gallery.

I struggled finding a title for this piece for a long time. There was a quality in it that attracted me immensely, that spoke volumes to me. But try as I might, I could never quite put my finger on what exact quality that might be. I just knew that if felt like something bigger than any single emotion. It had, for me, an immensity of feeling.

So, the word sublime came up in my search for a title and it immediately felt right. The feeling I was sensing and trying to describe was sublime, at least in my understanding of the word which put it at a point beyond beauty. Maybe beauty plus several other layers of feeling.

Every word that came to mind seemed limited to one emotional ray but sublime was a wide spectrum of feeling.

It was already titled when I came across the words at the top from the philosopher Immanuel Kant. His idea of the sublime being limitless and beyond our attempts at imagining it described perfectly my own frustration in the struggle to find words for the wide range of feeling I was sensing in this piece.

It seemed a bit like serendipity that the painting’s title was already Sublime. I still feel frustrated in describing my response to this piece but that word, sublime, covers the bases for me.

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Moments and Color is the title for my annual show at the West End Gallery, located on historic Market Street in Corning, NY. The exhibit opens Friday, July 12, with a reception that is open to all and runs 5-7:30 PM. The show is currently in the gallery and available for previews.

 

Fourth of July

I am not feeling celebratory on this Fourth of July.  I have strong feelings about the ideals of this nation and the recent events here challenge my belief that those ideals can prevail or even merely hold on. There is just a bit too much irony in today celebrating our independence from what we viewed as the grip of cruel tyranny in 1776. We are weakening our country when we accept cruelty and selfishness as an aspect of our governance and national character. And make no mistake about what I am saying, selfish cruelty is weakness and we are witness to that currently. Here’s a post from several years back that I run every now and then on this day, speaking to our better ideals. Enjoy your 4th.

Jasper Johns “Flag”

Another Fourth of July.

Parades. Picnics. Fireworks. Red, white and blue. That’s the shorthand version of this day. The actual meaning of this day is much harder to capture, probably more so for Americans than for those from other countries who view us from a distance. I think we sometimes lose sight of the idea and ideal of America in our day to day struggle to maintain our own lives. But even that struggle is symptomatic of the basis of our nation, reminding us that anything worth preserving requires work and maintenance.

For me,  America is not a static ideal, a credo written in granite that will always be there. It is vaporous and always changing, like a dense fog. But it is an inviting fog, one that is warm on the skin and invites you in with hazy promises of possibility.

And maybe that is all America ever was and will be– the promise of possibility.

Maybe it is the sheer potential of a better and safer life, the possibility of remaking one’s self, that defines our ideal America. We are at our best when we are open and inviting, offering our opportunity and empathy to all. We are a long way from our ideal when we close our doors and try to capture the vapor that is America all for ourselves. It is not ours to hold– we are simply caretakers of an ideal, one that brought most of our ancestors here.

Maybe this doesn’t make any sense. Since it is such a hazy thing, this amorphous fog that is our ideal, we all see it in different ways. This is just how I see it.

Here’s a video of the song America from Simon and Garfunkel, as performed by David Bowie. This is not a flag waving, chest thumping anthem but it speaks as much to the meaning of the American ideal in that simple chorus — all gone to look for America— as the very best Sousa march.

Have a good day.