Feeds:
Posts
Comments

Posts Tagged ‘Alexandria VA’

GC Myers- Mantra 9

Going to keep this short and concise. My show Red Tree 20: New Growth opens this evening at the Principle Gallery in Alexandria, VA. The reception begins at 6:30 and runs until 9 PM.

If you can make it, please make sure to take a few minutes to speak with me or at least say hello. This part of the openings means a lot to me so if I look busy, catch my eye or speak with someone from the gallery and I will make sure I get to you. It’s my pleasure.

Hope to see you there!

GC Myers- Fire and Ice

GC Myers- To Have and To Hold

Read Full Post »

 

*************************

If you ask me what I came to do in this world, I, an artist, will answer you: I am here to live out loud.

-Emile Zola

*************************

The show is hung in the gallery. I am relieved and anxious, same as always. It’s been twenty years of doing this, of sweating out–or maybe it’s bleeding out –work for my annual show at the Principle Gallery. It’s always hard but I don’t want to imply that it’s harder than any other job. Every job, every career has its good and bad parts.  You can only hope that the good parts far outweigh the bad.

I think my job does, most times.

I was asked this past week in an interview for a regional magazine how and why I came to be an artist. I think I said that I just wanted to have my voice heard in this life. I wish I had added that I wanted to do all I can to put out work that will hopefully live beyond the limitations of my own worldly life, as well. Just so someone somewhere someday will know that I existed and thought and felt. That I laughed and cried.

That I had a voice that needed to be heard at times.

Maybe that’s what Zola meant by living out loud– needing to be heard.

These kind of thoughts always populate my mind when my shows roll around because in so many ways, I feel exposed and vulnerable on those walls. Defenseless against all judgement and criticism.

But after so many shows, I am almost numb to these fears and doubts. I know my own voice now and trust that it is real. It’s all I have to offer of value and it is that that allows me to live out loud. Like Georgia O’Keeffe said: I have already settled it for myself so flattery and criticism go down the same drain and I am quite free. 

That said, I think this is a very strong group of work, one that carries my voice well enough to remind me that I truly exist.

Hope you can make it to the show. Whether you can or can’t, below is a slideshow preview of the show.

There is also a very nice article and interview at PrincipleArtTalk, the blog of the Principle Gallery, about this show and some of the new work. You can go to that article by clicking here.
Celebrating 20 Years of the Red Tree

Read Full Post »

My show at the Principle Gallery is in place, adorning the walls of the Alexandria gallery. I got word yesterday in the form of a few images that really put to rest a lot of my apprehensions.

It looks good. Very good.

I go through a cycle with every show where I have peaks of excitement over the work as it builds in the studio. But near the end of prepping for every show or after the show has been delivered and is out of sight, I begin to second-guess my own judgement of the work. The excitement I once held turns to a fear that I have been seeing the work through magic goggles that give the work qualities that really aren’t there.

Thankfully, most of the time these fears have been unfounded. But even so, this year gave me an extremely high level of excitement for the work which translated to an even greater dread in the last week or so. Much of it has to do with the fact that this is the 20th solo show at the Principle Gallery, the significance of this being something I have written about here in recent weeks.

Add to that the inclusion of my new Multitudes series that consists of masses of faces, such as the piece, The Following, here on the right. This group of work makes up a significant part, almost 25%, of the show and is untested in the marketplace. But Michele and her great staff– Clint, Taylor and Owen– have done a masterful job of hanging this work, interspersing it with the other work in a way that shows it as an extension of the prior work and not an exception.

Plain and simple, it all really fits together well. And that bring back to me a level of excitement. But that just makes me wonder if I put my goggles back on.

I guess you’ll have to be the judge. You can borrow my goggles, if you want.

*******************

The show is hung for previews and the opening for Red Tree 20: New Growth is this Friday, June 7, beginning at 6:30 and running to 9:00 PM. Hope to see you there!

Taylor in the Front Gallery

 

Read Full Post »

 

*********************

“The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater.”

J.R.R. Tolkien, The Fellowship of the Ring

*********************

Above is a new painting, a larger one at 30″ by 48″ on canvas, that is part of Red Tree 20: New Growth, my annual solo show that opens this coming Friday at the Principle Gallery. With its size and deep coloring, it presents a strong and striking image in person. Along with that strength, looking at it, the feeling that came to me was one of hope. There’s a sense of journey in this, a movement through dark and possible peril towards light and the possibility of tranquility. That brought about the title To the Gardens of Hope.

In short, hope is the thing that drives us through the dark.

In dark times we must hold on to hope, to have a goal of light that drives us to action. Too often we think of hope and dreams in passive terms. But hope without action is futile, a lazy daydream that will never grow in the gardens of light.

Hope combined with action is a potent force.

Maybe that is why the words above from the first book of J.R.R. Tolkien’s Lord of the Rings trilogy seem to mesh so well with how I see this painting. That story certainly had existential peril and darkness. But throughout the tale there was always an end goal that gave hope. And plenty of action was required to get to that goal, to overcome the darkness with light. This concept was not in mind during the painting but now that I think of it, this could be from one of the kingdoms or shires of those books.

That concept can also be summed up in four short lines below from the poet Langston Hughes. Without hope and dreams, we have no will to act and are, as he describes, broken-winged birds.

*****************

     “Hold fast to dreams,     

For if dreams die    

                    Life is a broken-winged bird,     

That cannot fly.”     

       ― Langston Hughes

   *****************

So, in perilous times, when darkness seem pervasive, hope has a place for those willing to step forward and move toward the light.

That’s only my take on this painting. You might well see it in different terms and that is, as always, as it should be.

This painting along with the rest of the show will be hung today in the Alexandria gallery. Hope you get a chance to stop in and see it. If you’re around Old Town Alexandria on Friday evening, I will be at the gallery for the opening reception which runs from 6:30-9:00 PM. Come in and say hello. I look forward to it.  

Read Full Post »

********************

“There is a pleasure in the pathless woods,

There is a rapture on the lonely shore,

There is society, where none intrudes,

By the deep sea, and music in its roar:

I love not man the less, but Nature more”

Lord Byron, Childe Harold’s Pilgrimage

********************

This another new painting, coming in at 24″ by 24″ on canvas, that is headed to the Principle Gallery for my annual solo show there. The show,my 20th solo effort at the Alexandria gallery, is titled Redtree: New Growth and opens on June 7. This painting is titled Solitude’s Rapture.

I don’t know if solitude is for everybody. Some people might look at this painting with a little discomfort, seeing in it isolation and loneliness. But for myself, it represents a total freedom of the self, one that allows one’s absolute truth to emerge. A freedom that allows one to experience clear glimpses of our connection with all being.

The lines above from Byron’s Childe Harold’s Pilgrimage express this feeling well. Alone on a shore, one can begin to hear and converse with nature. The lap and roar of the sea becomes language as does the light of the sun and moon as it sifts through clouds above. It is in these conversations that we come to better understand that we are both small and large, insignificant yet integral.

Of  course, this is not a practical matter for most of us. I have my own little island of solitude here in my studio but I am not isolated. My regular life has me out in the world, interacting with people on a regular basis. But knowing that I will soon be back on my island where the only conversation taking place is in myself.

Hermann Hesse put it well in the excerpt below from his book, Reflections. He mentions it as being a way of bitter suffering. I suppose initially, for those who have been always in the society of others and seldom alone, this may be the case when faced with solitude. But, as he points out, when you get past that discomfort, the rewards of solitude are rapturous.

*********************

“We must become so alone, so utterly alone, that we withdraw into our innermost self. It is a way of bitter suffering. But then our solitude is overcome, we are no longer alone, for we find that our innermost self is the spirit, that it is God, the indivisible. And suddenly we find ourselves in the midst of the world, yet undisturbed by its multiplicity, for our innermost soul we know ourselves to be one with all being.”

Hermann Hesse, Reflections

**********************

Read Full Post »

***********************

The way of the Creative works through change and transformation, so that each thing receives its true nature and destiny and comes into permanent accord with the Great Harmony: this is what furthers and what perseveres.

Alexander Pope

***********************

I am moving toward final preparations for my annual show at the Principle Gallery which opens five weeks from today, on June 7th. This year’s show is titled Redtree: New Growth which references my first solo show, Redtree, at the gallery way back in 2000. I thought invoking the Redtree label was appropriate as this is going to be my 20th solo exhibit at the Principle and the Redtree has certainly remained a vital part of my work.

There is no getting away from that.

But the addition of New Growth is important, both for this show and for myself as an artist. The Redtree is still present in my work but there is also a need to evolve it, to keep moving away from any sort of static position. A need to not settle for what I am now but, instead, to aspire and move to become something more.

Change and transformation, as Pope put it.

There is a constant need to have that which he describes as my true nature and destiny move closer to that Great Harmony.

There are moments when I am at work when I feel I am close to that point, that I am looking at my real essence, my true nature. They are rare moments but there in no mistaking those instances of clarity. I have felt that a few times in prepping this show and am grateful for these occurrences because even though they are fleeting, they leave me with a desire to push my own boundaries and expectations.

Looking back on the prior 19 Principle Gallery shows, I can see evidence of other times when I was experiencing this same feeling. They showed themselves as moments of growth that standout to me. There were years that stand out for me, where the work jumped forward in bounds. And there were years where there was an evident pause in the growth of the work, where I almost seemed to be complacently resting.

Maybe a bit too satisfied with where I was? Probably. Or maybe I was wary of moving because I was afraid there was nowhere to go, that I was as far in my journey as I was able to go? I can’t say for sure.

But this year’s Principle Gallery show challenged me. That is was my 20th show there seemed like such a milepost for me that I became concerned that it was becoming an endpoint with nothing beyond it. That produced an almost feverish desire to create work of a truly essential nature.

I won’t know whether I actually succeed in this quest for a few years as I am too enmeshed in the work now to be objective. But I feel as strongly about this work as any I have ever done and if my emotional reactions to it are any indicator, it will age well.

The painting at the top is the title piece for this show, Redtree: New Growth. A 36″ by 24″ canvas, it has a sharpness and clarity that just feels right for the moment. This painting aligns perfectly, at least in how I view it, with Pope’s words above.

It furthers and perseveres.

Read Full Post »

This is a new painting that I am calling Culmination. It is 36″ by 12″ on canvas and is headed to the Principle Gallery in Alexandria next Saturday, September 22, where I will be giving my annual Gallery Talk.

This painting satisfies me on many levels. First, there is a density in its color and composition that I find very appealing. Now, density is not always a quality I seek. Sometimes, I am looking for a lightness or an airiness. But here there is a denseness and weight that gives the piece its presence. I believe this comes from the deep red color ( that perhaps symbolizes the blood that has flowed through us since time immemorial?) and the compacted composition that dominates most of the picture plane.

I also am drawn to the meandering path that wends its way to the top to the top of the hill. The  shorter paths that branch off on either side give it the feeling of a tree making its way toward the sky or an artery going up through one’s body.

The tree analogy is important for me. I see this painting as being about how each of us is a culmination, an end result of all our ancestors who have come before us. I often think about that when I am looking over genealogy charts that show the generations spreading out behind the present generation. It makes me think how amazing each of our lives really is when you consider how many obstacles had to be overcome for us to be here in this moment.

Looking at those charts, I think about treacherous childhoods of earlier times when families often lost multiple children to illness. My own grandmother had three siblings who died before she was born. Or the many long and treacherous trips and voyages, over land and sea, that it took to place us in our present locales. Or I think about the many great-grandfathers and great-uncles in my line who fought in the many wars of this country or in those of their original homelands many generations before, many who died far from their native soil. Or the many who worked in dangerous conditions. Doing my wife’s and my own genealogy, I am struck by how many relatives were killed by logging accidents.

These are just a few examples but the fact that a life force somehow wound its way through the pitfalls of life through hundreds of generations to create us is, in many ways, a miracle. Each of us is the result, the culmination, of a journey from the beginning of time. I think we sometimes take this life for granted– both our own and the lives of others– and don’t see the sheer beauty in the miracle of our mere existence.

And that is what I see in this painting. The Red Tree at the top is at the terminus of its journey, standing at the convergence of the past, present and future. It owes a great debt to those who persevered to bring this miracle, a debt that will be hopefully paid through living a life of honor and respect.

I could go on but I think you get the point.

+++++++++++++

As I said, this will be at my Gallery Talk at the Principle Gallery next Saturday, September 22. The Talk begins at 1 PM and there will a painting, Deep Focus, given away along with some other neat things. It has all the earmarks of being a good time. Hope you can make it!

Read Full Post »

Older Posts »

%d bloggers like this: