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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.

 

 

No Rules/ Redux

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 .

Adagio in Blue

GC Myers- Adagio in BlueWow.

That’s about anyone can say after these last few days, days which may go down as some of the craziest ever seen in the history of our nation.  I am not going to say much here on the subject of candidate Trump.  There’s not much to say except that this is not a big shocker to me.  I’ve said it before: Trump has shown us who and what he is repeatedly over the past decades.

If you are surprised by any revelation about this creature– I hesitate to use the word man in this case– that has come out (or any that is bound to emerge because I have to believe there is plenty more in the bullpen just waiting patiently to be unleashed) then you haven’t been watching closely enough.  Either that or you are, as my father likes to say– even in his current state of Alzheimer’s–among  the most gullible people on the face of the earth.

And for those out there waking up this morning still believing that Trump is some kind of positive answer or agent of change, I feel pity for them.  That kind of denial of reality can only point to a life that will be further filled with anger, hatred and discontent.

And that is a sad thing for them. And for those around them. And for this country.

Okay, enough said on that for now.  I need some comforting on this ominously quiet Sunday morning.  The painting at the top is a new 9″ by 12″ canvas that is part of my upcoming show at the Kada Gallery which opens October 29.  I call this piece Adagio in Blue.  It has a calming presence in its colors and composition that fulfills my needs this morning.  I am coupling it with a classical piece this morning, the Adagio from Mozart’s Piano Concerto No. 23 as played by French pianist Hélène Grimaud.  It’s a beautiful piece and a well produced video presentation.

Think of it as a peaceful respite from the crap storm cutting through our political world at the moment.  Relax and try to have a good day.

Skirting the Storm

With Hurricane Matthew in mind:gc-myers-skirting-the-storm

In Gratitude

GC Myers- In GratitudeTrue happiness is to enjoy the present, without anxious dependence upon the future, not to amuse ourselves with either hopes or fears but to rest satisfied with what we have, which is sufficient, for he that is so wants nothing. The greatest blessings of mankind are within us and within our reach. A wise man is content with his lot, whatever it may be, without wishing for what he has not.

Seneca

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This new painting, which is about 4″ by 15″ is a bit of a rarity.  It is done on plain watercolor paper without the benefit of the texture from the gessoed surfaces that I typically use, much like my very earliest works.  It was a nice change, reverting to working on the smooth surface of untreated paper.  There’s a sense of purity in the way the colors flow on and set to the paper’s surface.

Very clean.  Crisp.

I call this piece In Gratitude.  The words at the top from the Roman philosopher Seneca very much capture the spirit of what I see in this painting and aspire to in my own life– to be always conscious of and grateful for that which I do have in my life.

I talk and think a lot about gratitude.  Gratitude for where I am in the present moment sets me free from dwelling on the past or fretting about the future, both things out of my hands.  Gratitude also makes me recognize the importance of those who have played key roles in my life.

 Recognizing that one depends on the help, the love and the recognition of others in their life is a key element in finding a level of contentment in one’s life.

We do nothing totally alone.

I may claim that my work is my creation alone but it is, in fact, a compilation of the interactions of my life with those who I have encountered along the way.  They have formed my sight, my perception of this world, and given shape to the hoped-for world that shows itself in my work.

And for that alone, I am so grateful.

So, this seems like a simple small painting but for me it speaks volumes.

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This painting, In Gratitude, is part of my solo show, Part of the Plan,  which opens October 29th at the Kada Gallery in Erie, PA.

yayoi-kusama-all-the-eternal-love-i-have-for-the-pumpkins-2016Well, October is the time for pumpkins.

Over the last day or so I keep coming back to the photo above after seeing it on the I Require Art page.  Titled  All the Eternal Love I Have For the Pumpkins, it’s from an installation from the Japanese artist Yayoi Kusama.  Now 87 years old and still highly  productive, she has long been at the forefront of the avant-garde and conceptual art movements.

yayoi-kusama-portrait-w-pumpkinI can’t write much about her as I don’t know much about her.  But the imagery I have come across with all its densely packed patterns consisting often of her trademark polka dots swirling and twisting on multiple surfaces.  Like the pumpkins above or the photo here on the left  with her becoming part of the installation in a most wonderful way.  It’s mesmerizing.

One of the ways I quickly judge the direction of an artist’s work is to do a Google image search.  Below is a quick shot of a search done with her name and the word pumpkin and below that is one just using her name.  Great continuity, great pop off the screen.  I just love the look of this work.

I urge you to look more into the work and life of Yayoi Kusama.  I know I will look further.

yayoi-kusama-pumpkinsyayoi-kusama-images

Urge For Going

GC Myers- Breathing RoomOctober and the rampant heat of summer is finally letting go.  There’s a little color coming into the trees but it seems muted against the slate grayness of the clouds that are bringing us some much needed rain.  The change of seasons seems to be upon us and soon the green of the grass will be a bleached beige and the green clad trees will shed their leaves exposing the bone grey structures of the trees.  Color fades and everything takes on a the colors of the earth– shades of gray and brown.

This can make many folks a bit melancholy as they wistfully long for the sun and light of those longer summer days.  They want to flee the somber tones of the landscape around them.  They get the urge for going.

I understand this feeling.  But I more often than not find myself relishing this change of season, the more essential feel of this time of year.   I think the somberness of the colors outside the studio help me express the colors I am seeing inside and allows me to use my own urge for going in a constructive manner.  I believe that piece at the top is a good example.  It’s called Breathing Room. and is an 18″ by 24″ canvas. It could easily be called Urge For Going  as the path moves through a deeply colored foreground toward a light-filled and expansive horizon.

That, of course, brings us to this week’s Sunday morning musical selection.  It’s a very early version of Urge For Going from Joni Mitchell.  This is taken from a Canadian television program, Let’s Sing Out, that ran from 1963-1967.  It was broadcast from various Canadian college campuses and featured many folk performers of the day.  Joni Mitchell first appeared on the show in 1965 using her maiden name, Joni Anderson.  This particular performance using the more familiar Mitchell is from October of 1966 at Laurentian University in Sudbury, Ontario.  I think it’s a beautiful rendition of the song, especially for a fifty year old television clip.

So give a listen and consider your own urge for going.  Have a great day.

Oh, the painting, Breathing Room is part of my upcoming show, Part of the Plan, which opens October 29 at the Kada Gallery in Erie, PA.

lake-wanaka-nz-lone-tree-2I don’t know much about New Zealand, have never been there and most likely will never get to see that country.  But I have long heard about its spectacular natural beauty with its soaring mountains and forests.  Out of all of this beauty, I recently came across a photo of what is considered perhaps the most photographed and beautiful spots in all of New Zealand.

lake-wanaka-nz-lone-tree-5-bwIn the foothills of the Mount Aspiring National Park on New Zealand’s South Island, beneath the snow-capped peaks of the southern alps, there is an alpine lake and on the shore (and sometimes in the lake itself) stand a willow tree.  It is the Lone Tree of Lake Wanaka.

It started its life years ago as a hewed off willow branch acting as a fence post.  The tree sprouted from that post and stands alone now, the fence line long gone. That’s determination, a will to exist.

It’s a powerful image, this single tree standing amidst all the powerful glory of nature.  While it may attract crowds of tourists to snap pictures of the tree and themselves beside it, it is obviously the solitary determination of the tree that speaks to those who see it.  I think that is something that speaks to most of us, this need to know that we can withstand this world, can stand alone.

I know it sure speaks to me and certainly looks familiar to much of my work.  I did  a quick search and chose a few great images out of the many out there of the Lone Tree.  Take a look.  It is peaceful yet strong and defiantly determined.  Heroic.

If only it were red…

lake-wanaka-nz-lone-tree-7 lake-wanaka-nz-lone-tree-1 lake-wanaka-nz-lone-tree-3 lake-wanaka-nz-lone-tree-6 lake-wanaka-nz-lone-tree-4

Breakthrough

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!

A friend of mine posted the quote below, one that I have long admired,  online this morning and it set me off thinking how our indifference to so many things affects us in many ways.  For example, in the blogpost below from a couple of years back I wrote of how I was spurred on by the unknowing indifference of others to my work.  But we are also sometimes intellectually lax and this allows us to build up an indifference to things that we know in our cores are wrong and unacceptable.

Take for example the  words and actions of Donald Trump.  He often says and does things that deserve loud condemnation yet we have come to have an indifference, a tolerance, to his constant stream of untruth and divisive rhetoric.  It seems easier to accept something that should appall us, especially when his supporters are so loud and angry, than to step up and say that this is wrong.  So we let his many and well documented lies, his unfounded boasts and his vitriolic appeals to our darker angels slide.  In our indifference we don’t look any further into his words or past.  

We begin to accept him at face value.  

This sort of indifference is always a dangerous thing.  Elie Wiesel knew that from firsthand experience in the Germany of the 1930’s when Hitler’s appeal to nationalism and the indifference of those who saw him as a fool and not a threat allowed the rise of Nazism which led to Auschwitz and to the many other horrors of WW II.

Don’t go crazy here– I am not making that jump in saying that Trump will lead us to anything like Nazi Germany.  But to let disinterest and indifference creep into how we view our civic responsibility in voting is a dangerous thing.  Our indifference may have us thinking that this election doesn’t have much to do with our day to day life. But ask the vets who fight our wars or the families who are left to bury them.   

The point here is to fight indifference, to stop and be curious when faced with anything.  The world is too complicated for us to be careless and indifferent.  Especially now.
gc-myers-memory-of-night-sm“The opposite of love is not hate, it’s indifference. The opposite of art is not ugliness, it’s indifference. The opposite of faith is not heresy, it’s indifference. And the opposite of life is not death, it’s indifference.”

-Elie Wiesel

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I’ve been sitting here for quite some time now, staring at the quote above from Nobel Prize winner Elie Wiesel.  I had planned on writing about how my work evolved as a response to the indifference of others but now, looking at those words and putting them into the context of  Wiesel’s experience, I feel a bit foolish.  Wiesel, who had survived the Holocaust, was eyewitness to indifference on a grand scale, from those who were complicit or those who did not raise their voices in protest even though they knew what was happening to the personal indifference shown by his Nazi guards, as they turned a blind eye to the suffering and inhumanity directly before them on a daily basis, treating them as though they were nothing at all.

The indifference of which he speaks is that which looks past you without  any regard for your humanity. Or your existence, for that matter.  It is this failure to engage, this failure to allow our empathy to take hold and guide us,  that grants permission for the great suffering that takes place throughout our world.

So you can see where writing about showing a picture as a symbolic battle against indifference might seem a bit trivial.  It certainly does to me.  But I do see in it a microcosm of the wider implications.  We all want our humanity, our existence, recognized and for me this was a small way of  raising my voice to be heard.

When I first started showing my work I was coming off of a period where I was at my lowest point for quite some time.  I felt absolutely voiceless and barely visible in the world, dispossessed in many ways.  In art I found a way to finally express an inner voice, my real humanity,  that others could see and react to.  So when my first opportunity to display my work came, at the West End Gallery in 1995, I went to the show with great trepidation.  For some, it was just a show of  some nice paintings by some nice folks.  For me, it was a test of my existence.

It was interesting as I stood off to the side, watching as people walked about the space.  It was elating when someone stopped and looked at my small pieces.  But that  feeling of momentary glee was overwhelmed by the indifference shown by those who walked by with hardly a glance.  That crushed me.  I would have rather they had stopped and spit at the wall than merely walk by dismissively.  That, at least, would have made me feel heard.

Don’t get me wrong here– some people who are not moved by a painting walking by it without a glance are not Nazis.  I held no ill will toward them, even at that moment.  I knew that I was the one who had placed so much importance on this moment, not them.  They had no idea that they were playing part to an existential  crisis.  Now, I am even a bit grateful for their indifference that night because it made me vow that I would paint bolder, that I would make my voice be heard.  Without that indifference I might have settled and not continued forward on my path.

But in this case, I knew that it was up to me to overcome their indifference.

Again, please excuse my use of Mr. Wiesel’s quote here.  We all want to be heard, to be recognized on the basic levels for our own existence, our own individual selves. But too often, we all show indifference that takes that away from others, including those that we love.  We all need to listen and hear, to look and see, to express our empathy with those we encounter.  Maybe in these small ways the greater effects of indifference of which Elie Wiesel spoke can be somehow avoided.

It’s a hope.

The painting at the top is a new piece that I call Memory of Night, inspired by Wiesel’s book, Night.