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Posts Tagged ‘Exiles’

A Prayer For Light-Exiles series 1995




There’s an inherent limit to the stress that any material can bear. Water has its boiling point, metals their melting points. The elements of the spirit behave the same way. Happiness can reach a pitch so great that any further happiness can’t be felt. Pain, despair, humiliation, disgust, and fear are no different. Once the vessel is full, the world can’t add to it.

-Stefan Zweig, The Post Office Girl





This has been a stressful year.

I could probably leave that sentence hanging in the air alone and hardly anyone would disagree. It’s been stressful for most folks, with political upheaval and economic uncertainty across the board.

Those have been stress-inducing for me as well. The thought of our movement toward some form of authoritarian police state and the anxiety of trying to make a living as an artist in an economic downturn would provide more than enough stress for me in any year.

This year also had other stressors.

Some were emotional as I saw a number of friends pass away, some well before their time from disease, while at the same time, some family members were experiencing severe, life-threatening health crises. Again, that would be enough for most years, especially when you add in the current political and economic atmosphere.

But that just didn’t seem like enough stress for this banner year. I had some physical blips to throw into the pot.

I limped into the year with a fully ruptured tendon on in my ankle then suffered a mild concussion on a fall on the ice a couple of months later. I then had a bout with a tick-borne illness, anaplasmosis, that went undiagnosed for over 5 weeks in the summer. Throughout that time, I suffered severe symptoms– fever and chills, night sweats, body aches, headaches, extreme fatigue, dizziness when moving at more than crawl, disconcerting brain fog, etc– that left me feeling like a zombie. It was only diagnosed and treated at my insistence that I be tested for tick-borne illnesses. 

In late May, a month before the anaplasmosis, routine blood work revealed that I had an elevated level of PSA, which is the protein produced by the prostate. A higher level may indicate cancer. At this point, I kind of shrugged it off, figuring that it couldn’t possibly be serious.

Rookie mistake.

I am not going to go into the complete timeline and the battles I had to wage to get things moving. It was slow going and was frustrating, often infuriating, and sometimes demoralizing. I may go into at some other time here if only to serve as an object lesson that people must be prepared to serve as their own outspoken advocate, something I learned from my run in with a case of anaplasmosis.

The short version is that my high PSA levels led to a long-delayed appointment with a urologist who found that my PSA had once more elevated.

That sent to another long-delayed MRI of the prostate which showed tumors indicating a high probability for prostate cancer.

A biopsy was ordered and took place 5 weeks later, in early October. It was originally scheduled for December, three months after the MRI, which I refused to accept. The biopsy results, which I received just days before my West End Gallery opening, revealed that I had an aggressive form of prostate cancer, indicated by a high Gleason score.

The next step would be a PET scan to determine if the cancer had moved beyond the prostate. This took place last Friday (which also took a major protest to get this scan moved back from December) showed that the cancer had spread to two spots in my bones, one in my rib and the other in my pelvis.

Though this technically makes it a Stage IV cancer, because the spread is showing in only two locations it is considered oligometastatic disease— kind of like Stage IV Lite. As I understand it, this may indicate that the spread was in an early developmental phase. Treatment for Stage IV cancer would normally consist of chemotherapy for a systemic attack on the cancer, whereas oligometastatic disease is treated with an aggressive mixture of hormone therapies and radiation treatments, often concurrently, on the affected areas. 

It has been a rollercoaster of emotion since last Thursday when I learned that my protests after they tried to delay my scan two more week resulted in moving my PET scan up several weeks to the next day, last Friday. Lots of ups and even more downs. Lots of frustration with the lack of communication and guidance. I often feel like I have been dropped into a wilderness with which I am unfamiliar without a guide or assistance of any sort.

But at the moment I feel like we are close to being on a path through the wilderness. I have two appointments this coming week, one with my Radiologic Oncologist here and another in NYC with an Oncologist at Memorial Sloan Kettering who will review all my tests, scans, and pathologies as well as any plan of attack recommended by my Rad Oncologist here. I then see a Medical Oncologist the following week, the day before Thanksgiving. 

At that point, hopefully, we will, have plan in place and treatment will get rolling.

I have some optimism. While it is serious, my prognosis is fairly good. I am in relatively good shape and have been steadily increasing my workouts to build up strength (which was still lacking from the earlier bout with anaplasmosis) to better withstand the coming treatments. Plus, recent studies provide evidence that intense workouts are truly effective in combatting certain cancers. I actually feel pretty good at the moment with practically no pain.

To be honest, I feel fortunate, almost embarrassed, since there are so many others out there experiencing much worse health episodes. I really feel for those folks, especially those trusting souls who passively go through the system, accepting that the delays and long waits for testing and treatment are just the way it has to be. I know there are people on the same timeline as me who, because of this trust in the system, are still waiting for biopsies and scans, putting them at risk of much worse outcomes for their health. 

It shouldn’t be this way.

I am also fortunate to have a wonderful support system of family and friends that have become much apparent to me in recent months. Working alone and seeking solitude often hides the fact that there are people there for you.

One is my niece-in-law who is a highly respected Oncologist who has been advising Cheri and I as we stumble through the wilderness in which we find ourselves. It was at her recommendation that we seek a consultation with Memorial Sloan Kettering. As we near Thanksgiving, I couldn’t be more grateful for her keen guidance and her caring nature. 

I hemmed and hawed about writing this, with revealing my diagnosis here. But sharing this came down to the fact that I have written this blog for over 17 years now and it has served in some ways as a diary for me. I have shared a lot of personal details, feelings, and opinions.

Probably too much.

However, there is a freedom that comes with this transparency. I have said before that my life is divided into two distinct halves, in which the first half consisted in trying to hide things whereas the second half has been devoted to revealing those same things and more. With this transparent attitude, I am infinitely happier now than I was in the first half of my life.

If you have been a regular reader for much of that time you most likely feel like you know me and, for the most part, you do. This diagnosis is now part of my life, much like my work, and most likely will be with me for at least a few years.

Maybe more. 

The point is that it will affect my work in ways I do not yet know. On one hand, I am scared for what might transpire between this cancer and my work. On the other hand, I am kind of excited. It might be revelatory in ways I can’t imagine.

Or not. We won’t know for a while.

But we will know.

I used one of my most personal paintings at the top. It is A Prayer For Light from my early Exiles series. This piece was painted in 1995 as my mom was dying from metastatic cancer in Florida, far from her family. This past Monday marked thirty years since her death. Looking at it yesterday morning, this painting resonated in ways that it had not for me before. I couldn’t help but cry, imagining with a better understanding now of the loneliness and loss she must have been experiencing at the time as she struggled through the last months of her life. 

I feel her experience as the Exile in the wilderness much more profoundly now. And though I sometimes have felt the same over these past several months, I know now that it is not the case for me.

I have guides and companions to help me find my way out of the wilderness and home once more.

What more could I ask?

In parting, let me just add this: Don’t worry about me– I got this covered.

I probably don’t need to throw in a song on a post like this. But this came on yesterday while I was thinking about how to address my situation on the blog and I found myself once again tearing up, especially at the first section of the medley. This is the medley Golden Slumbers/ Carry That Weight/The End from the Beatles off their Abbey Road album.





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The Exile’s Wilderness– 2020



For the first time in years, he felt the deep sadness of exile, knowing that he was alone here, an outsider, and too alert to the ironies, the niceties, the manners, and indeed, the morals to be able to participate.

― Colm Tóibín, The Master



The painting above, The Exile’s Wilderness, was originally painted in early 2020 but without the actual figure that represents The Exile, as seen in the bottom right of the image above. I thought that the painting as it was, sans The Exile figure, was really strong and it quickly became one of my favorite pieces from that period in the early days of the pandemic.

I originally felt that the painting didn’t need the figure, that it represented a view seen from the eyes of the exile. But over the past year or so [2021], as much as I liked this painting without the figure, I began to recognize that it actually needed The Exile in order to provide context.

In my mind, I was the context. I had to remind myself that not every person who looks at this will see themselves as The Exile.

So, The Exile entered the picture, literally. And, though I was apprehensive as I proceeded, I was pleased by its effect. It’s contrast to the emptiness of the streets and windows made the figure seem even more alone. More apart. It heightened the overall effect for me.

It completed the circle of feeling that I was seeking in it.

Now, it doesn’t need that caveat of being a favorite from a certain time period. It is simply a favorite. Period.

Here’s a 2001 song from Leonard Cohen, By the Rivers Dark. Though The Exile’s Wilderness doesn’t display a river, this song definitely has the mood that I glean from this painting. Maybe the buildings here are of a riverside street along that dark river?

Maybe…



Still feeling quite drained and under the weather. Trying to keep working but it is slow going. This a slightly reworked post from several years back about a favorite painting that is here in the studio. I thought I should point out that anytime I share a painting from the studio that doesn’t list a gallery location, you can contact me if you are interested in that piece, and I will let you know who to contact about obtaining it. I only mention this because I sometimes sound like I am hoarding certain pieces when, in fact, feel that most of my favorites here in the studio deserve a life that will continue someplace other than here where only I can experience them.  



 

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GC Myers- A Prayer For Light

A Prayer For LightExiles series

“Of course, there must be lots of Magic in the world,” he said wisely one day, “but people don’t know what it is like or how to make it. Perhaps the beginning is just to say nice things are going to happen until you make them happen. I am going to try and experiment.”

–Frances Hodgson Burnett, The Secret Garden, 1911



…until you make them happen.

A lot of us wish and hope for better things and a change from those parts of our lives that disappoint us. But until we act on those wishes and hopes, nothing usually happens.

Things stay the way they are. Or go in ways we never wanted to go.

Of course, wishing and hoping can be viewed as the primary stages of making a plan of action or setting a course and goal for the future. And that’s important.

Action without a goal can be as fruitless as wishing and hoping without action.

But the two– the wish and the action– put together can produce a sort of Magic, much as Colin the bedridden boy discovered in The Secret Garden. It’s a Magic that is within our grasp once we realize this fact.

I am going to give a really basic example. Many years ago, when I was in the early stages of my art life, I wished and hoped for a solo exhibit. I had only been showing my work publicly for a very short time, less than two years, so I didn’t have a reputation or name to pave the way. I didn’t expect anything and it would have been easy to shrug it off and do nothing.

But I decided to try and experiment, to act on my wish.

I had been working on my Exiles series, work that was very personal. It was done during the battle my mom faced with cancer, ultimately losing her life to it in November of 1995. I put together a proposal for show of these paintings and introduced myself to the director of the Gmeiner Art Center in Wellsboro, PA, about an hour from my home. She was impressed by the work and the presentation and gave me a solo show that winter featuring the Exiles paintings.

One thing that struck me about this was when a couple of other artists approached me at a local gallery opening around the time the show at the Gmeiner ran. Both were established artists who had been working much longer than I and had actual bodies of work. They seemed kind of envious that I was having this show and asked how I got this show.

My answer was simple.

I asked for it.

I could see on their faces that this was a revelation, that this simple action was something they had never thought to do.

You can’t wait for your hopes and wishes to come to you. Sometimes, you have to take the step towards them, to put things in motion and to make Magic happen.

Unfortunately, a lot of us don’t ever get the connection between wishes and actions. And that’s a shame.

Make something happen today. Make some Magic.

Of course, if you read this blog regularly, you probably know that this is all just a setup for playing a song. I thought that today’s words and image would match up nicely with a hit song, Wishin’ and Hopin’, from Burt Bacharach, who died this past week [February, 2023]. This is the 1964 hit version from Dusty Springfield. Though it seems a little dated and she seems a little needy in this song about getting a guy, the premise that it takes action to achieve wishes and hopes is correct: You won’t get him/ Thinkin’ and a-prayin’, wishin’ and a-hopin’

You got to put wishes and hopes into action…



This post ran early last year. As I walked through the woods to the studio in the dark this morning, the chorus from the song Wishin’ and Hopin’ kept rolling through my mind. It seemed like a great song for the nervous anticipation that has been building for this Election Day. The post seemed to match up well with the day as well. Today is the day to put our wishes and hopes into action. It is a day of great privilege and responsibility, one where your vote is equal to the vote of any billionaire. In some places with tight races, it might be worth more.

Today, put your wishes and hopes into action. Make some magic.

Vote.



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GC Myers- The Deacon's New Tie 1995

GC Myers- The Deacon’s New Tie 1995

Another Fourth of July here in America.

No big celebration planned for us today. I am still swamped with work as I try to finish up my next show at the West End Gallery, which I deliver later this week. I’ll be framing and and sanding and varnishing this Independence Day.

No complaints though. It’s just part of my American Dream.

And maybe that’s the idea behind this day, that we should all be entitled to pursue our own American Dream. That whoever we are and wherever we’re from, no matter the color of our skin, our religion or sexual orientation, that we are free to create our own life story with equal rights, equal justice and equal opportunity and reward. 

Free to create as big or small a life as one desires. 

That doesn’t seem like too much to ask, does it?

Unfortunately, that which seems so simple is often the hardest to accomplish. I certainly don’t think we have ever really reached this ideal state. It feels like an impossibility on some days with all the ignorance and hatred so proudly shown by so many these days. But so long as we aspire to that ideal and ward off all attempts to divert us from it, there remains hope.

Here’s my Sunday morning musical selection, July 4th edition. It’s the acoustic version of Pink Houses from John Mellencamp. I’ve always had a soft spot for this song and think he does a great job in portraying that ideal that I spoke of above, that the American Dream comes in all sizes. I particularly like this acoustic version.

The image I chose for today, The Deacon’s New Tie, from way back in 1995. The Deacon was part of my Exiles series and is permanently linked in my mind with this song mainly because several months after painting this piece I came across an article in the paper. It was about a 95 year-old man in central Florida who had won a case where he was trying to be forced from the land on which he had lived for nearly 70 years so that a highway project could proceed.

There was a picture of a bald old black man sitting on his veranda, a slight smile on his lips. There was something slightly familiar in that face, something that caused me take a second look. There it was: he was the spitting image of my deacon. The article went on to say that he was a longtime member of a local church and was known to friends and neighbors as the Deacon. 

The beginning of this song always brings that image of the Deacon sitting on his front porch with the interstate running through his front yard, thinking that he has it pretty good. Living out his American Dream.

Have a good 4th. Hope you’re living your American Dream.



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GC Myers- exiles-blue-guitar 1995This morning, I came across a piece from poet Wallace Stevens (1879-1955) which was fortunate as I was inclined to not write anything this morning. I didn’t write anything the day before yesterday when the internet was down here as a result of a squirrel chewing on the  cable on the pole outside the studio. They do that type of thing all the time.

That cable issue kept me from maintaining my streak of posting something every day and it didn’t feel bad. And that pleased me because I sometimes need to get things done and the early morning is when I am best suited, physically and mentally, to tackle them. Not worrying about posting something is a big relief.

That’s a lot of explanation for saying not too much. Anyway, the point here is that I found a poem that reminded me of an early painting, Blue Guitar from my Exiles series from back around 1995-1996. Actually, it fits it perfectly and I thought I would share a reading of it from Tom O’Bedlam who I have featured here a few times recently.

If you’re so inclined, take a short minute or two to give a listen and see if you see the connection.



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I usually go on and on about the real meaning of Labor Day but I am tired today. Here’s a post from a couple of years ago about a favorite song concerning work, fittingly titled Work Song, of all things. Great tune. Have a good Labor Day and just try to at least give a little thought to what the holiday represents.


I call this painting Let Us Now Praise Famous Men, a title I used for a few paintings from my early Exiles series, in which this piece is included. I seldom show this piece and am not sure if it has ever appeared here. While I like this piece for a variety of reasons– for instance, I love the sky and hill colors– I never felt it was up to the same level as the other work in the Exiles series. I felt that it was more flawed than the others and too forced, not as organically formed as much of the other Exiles.

But every time I pull this piece out I feel a small sense of satisfaction in it and maybe that it needed to be aired out. I want to play a song today and thought this would be a good opportunity to let this little guy get out a bit. We’ll see.

The song is Work Song. It was written by the brother of jazz great Cannonball Adderley, who originally performed the song as an upbeat  jazz piece. But it has been interpreted by a number of artists over the years, some to great effect. Others, not so much to my taste. But one of my favorites is from one of my  guilty pleasures, Tennessee Ernie Ford.

He certainly doesn’t seem like a “cool” choice if you remember his public persona in the 50’s and 60’s as the goofily naive but affable hick from Bristol, Tennessee. I enjoyed that caricature as kid but it was his music that hooked me. He had a deep and mellow voice and a knack for choosing songs and arrangements that fit him perfectly. His series of country boogies were great and his 16 Tons is a classic. His version of this song is a great interpretation, spare and deep felt.

I couldn’t find a decent video of this song so here is the track alone:

Here’s another version that is a different interpretation from a band called The Big Beats with vocalist Arlin Harmon. I don’t have a lot of info on either though from what I can glean Harmon was a highly esteemed singer out in the Northwest. It’s a solid rocking performance with a different flavor than Tennessee Ernie’s. Give a listen.

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I do a one-man show every June at the Principle Gallery in Alexandria, VA and have done so since the year 2000. This year’s show, my 21st such show, is slated to open June 5. I am keeping hope alive that the current situation will have subsided to some degree and that the show can go on by that time but the experts’ projections, based on what little data they can obtain from our inadequate testing, make it look a little shaky.

But I am continuing to work on this show on the premise that the show will go on.

It’s what I do. All I can do.

That being said, I have determined that this year’s show should reflect this time. At least, my take on it. To that end I am calling the show Social Distancing. It’s a term that, while it has really taken hold in this world in recent times, I don’t think I have encountered much before now.

I have practiced it and painted it in many ways but just didn’t know to call it that.

From my earliest days, much of my work has dealt with the duality that runs along that line between solitude and alienation. The yin and yang, the joy and the sorrow, that comes from being apart from others. Many of my series have focused on this separation, the Exiles and Outlaws series jumping to mind.

But even my most used archetype, the Red Tree, usually concerns itself with distancing.  It almost always is alone or at least apart from other trees. Most of the time, it is about finding strength in recognizing those things which makes us unique individuals but occasionally it is about feeling alienated from the rest of the world.

Some find empowerment in their solitude. I believe that’s been the case for myself as I have seldom felt loneliness, especially in my adult years. But for many, that line between simply being alone and lonely is a thin one.

Solitude and silence can be frightening to those unaccustomed to it.

This being the case, there will be a pretty substantial nod to my earlier work, such as the painting at the top. It’s a 14″ by 24″ piece on paper that I call Social Distancing: Approaching Storm. I guess it’s a timely title.

For me, this return to that earlier method which focuses on sparse landscapes and big blocks of transparent color is like comfort food to me. The more I immerse myself in this work the more I understand what its appeal was to myself and those folks who were drawn to it in the early days. Working on this group over the past week or so has been steadying in the face of the great uncertainty we face.

I could say more but I think I want to stop. Hopefully, the show will go on, at least in some form.

I am going back to the solitude of my work now.

It’s what I do. It’s all I can do.

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Social Distancing, this year’s edition of my annual show at the Principle Gallery in Alexandria opens June 5.

Stay tuned for further details.

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“For the first time in years, he felt the deep sadness of exile, knowing that he was alone here, an outsider, and too alert to the ironies, the niceties, the manners, and indeed, the morals to be able to participate.”

― Colm Tóibín, The Master

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Another new cityscape, this one a 36″ high by 24″ wide canvas that I am calling The Exile’s Wilderness.

I’ve written a couple of times here about these new pieces and the anonymity provided by the looming buildings, shadowy streets and empty windows. It’s the perfect environment for the Exile, one that allows a person to slip by unheeded, almost as if invisible.

Like a ghost.

There but not really there. Constantly observing but never engaging or participating. Just as the words above from Colm Tóibín point out– the outsider who is so aware of the manners and niceties of this place that they are never comfortable enough to participate.

The odd thing about this form of exile is that the exile becomes comfortable in their isolation, their separateness. It becomes their comfort. And I think that level of comfort is what I see in this piece. It represents a feeling of estrangement yet it also feels warm and familiar with little menace. The mountains looming in the background represent the Exile’s desire for solitude and distance. They are hope.

The moon looking down on it all, for me, represents a spirit companion of some sort for the Exile, a distant presence that observes and enlightens without passing judgement. It, too, is a comfort for the Exile.

It’s a striking piece here in the studio, with the dark warmth of its colors and the Morse code-like feel, dots and dashes, of the windows’ lights. I have it in a central spot where I can see it most of the time I am at work at the easel or at my computer.

I find it comforting.

But, then again, maybe I am the Exile here.

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The Deacon’s New Tie- 1995

I have plenty of things to do this morning but somehow ended up spending an hour watching old videos on YouTube trying to find something to share here. However, it didn’t feel like wasted time. I generally find something new for my own edification or something that changes the course of my day in some way. Maybe makes me smile or think.

This morning, I felt like something bluesy/gospelly so I went to one of my favorites Sister Rosetta Tharpe, the godmother of rock and roll whose career spanned big bands to gospel to the blues that shaped rock and roll. Big onstage personality and a unique style with her electric guitar stylings. I thought you can’t go wrong with Sister Rosetta, especially in a live performance from a British rail station in 1964 where she’s rocking her guitar in a heavy coat and high heels belting out Didn’t It Rain on a wet platform.

But then some Louis Jordan, another favorite of mine, popped up on the sidebar. Another huge influence on early rock and roll and, like Sister Rosetta, possessing a big, charismatic personality onstage. I decided on his song Deacon Jones simply because it reminded me of the older piece above, The Deacon’s New Tie,  from my Exiles series from the mid 90’s. Thought they would pair together well.

Then on the side, up comes the Soul Stirrers, the gospel group that started the career of the immortal Sam Cooke, doing a knock’em dead version of I’m a Soldier. Just plain old great stuff.

I couldn’t pick just one so here are all three. Listen to one or two or all of them. Or none. Hey, you got free will working here, folks. But it wouldn’t be the worst way to spend a few minutes so you decide then go have a good day.

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Truth made you a traitor as it often does in a time of scoundrels.

Lillian Hellman, Scoundrel Time

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I am forcing myself to write about something removed from the news, lest my anger . There are things happening, both here and in our foreign policy decisions, that are deeply disturbing with ramifications that will echo for years to come around the globe. I will just let the words above from Lillian Hellman‘s autobiographical memoir, Scoundrel Time, sum up my view of the whole thing.

We are definitely in a time of scoundrels.

So, instead, I am making an unusual request.

The painting at the top, Exiles: Blue Guitar, is one that I painted back in 1995 as part of my Exiles series. This is one of the paintings I most regret letting go. It was the largest painting and the true centerpiece of the Exiles series besides having a lot of personal meaning for me.

Regrettably, this painting went to the Kada Gallery in Erie in 1997 or 98 where it was sold to an unnamed collector.

I am not trying to get it back, though I would gladly repurchase it. My desire is to get an image of it as it is now. You see, in 1997 I believe it was, I darkened the background in the painting. Any documentation of that change is lost and I have no idea or image of its final appearance. I would love to get an image and perhaps reframe the painting for its current owner. It was framed at a time before that in which I started using my signature frame. It is in an unusual frame, one that I think is probably inappropriate for it, along with a plexiglass covering that only used once or twice early on in my career. It deserves to be seen in a better setting.

My request is to any of my readers in the Erie area. Or any of my readers anywhere, for that matter. If you know of this painting or know anyone who might have my work but you’re not sure, ask them to get in touch with me here. I would like to hear from them.

I know it’s a long shot but I thought it was worth putting out there. This has been on my mind for many years now and I would like to take care of this.

Thanks!

 

 

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