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Posts Tagged ‘Henry David Thoreau’

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The era of procrastination, of half-measures, of soothing and baffling expedients, of delays is coming to its close. In its place we are entering a period of consequences.

–Winston Churchill

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For many of you Breaking Bad fans out there, the term half measures immediately brings to mind a pivotal episode in the series where Walter White realizes that when you’re dealing with deadly people and things, half measures have no place and will most likely get you killed.

And that is what we have been witnessing in the efforts to combat the coronavirus, so far as the steps taken by the president** and his gang of yes men– half measures.

Even yesterday, with the virus constantly gaining more and more footholds, cases and deaths mounting, the markets plummeting, and the experts warning that the most extreme steps must be taken, he stood before the nation and said that while he had signed the order for the Defense Protection Act, which gives the government tremendous powers to compel private companies to produce materials necessary supplies for this effort, he was not implementing it. He said he wanted to keep it for when we really needed it.

That’s like having a new rope in your hands and there’s a person drowning in the water near you and saying, ” I don’t want to use this now because I might need it later.”

That kind of holding a little back for later is fine under normal circumstance but when someone is in dire need it amounts to a half measure.

Now is not a time for half measures, not a time to let some folks drown while you still have that rope in your hand.

I can’t really explain why he won’t commit to full measures at this point other than to say that by doing so he commits to taking responsibility for those actions. It would assert the powers of the federal government and that would take away his ability to lay off blame on the many governors who have been the real leaders in this effort.

The whole thing would become his baby. And there is no way he can accept that sort of responsibility. Not now. Not ever.

But what he fails to understand is that in this sort of situation, the more he tries to evade his duty and responsibility, the more it becomes solely his baby, whether he likes it or not.

You might think I am being unfair in my criticism of the president** because of my intense dislike of him on almost every level, something I will not deny. You might think I should keep my mouth shut and give him a chance, especially in such a time of crisis.

To that I say, “That’s crazy.”

This has nothing to do with my dislike of this person. I am basing it not on that but on the fact that he is in the driver’s seat and I’m just a passenger in a speeding bus as he steers it toward the edge of steep mountain road. He is distracted (texting furiously as he steers) and doesn’t seem fully committed as we hurtle toward the precipice.

Yeah, I’m going to speak up. The time for patience, of waiting to see how he’s doing is past. I want someone to jerk his ass out of the driver’s seat and start steering this thing in a responsible manner, away from that deadly edge.

If you watched his briefing yesterday, I don’t see how you would view it much differently. If you watched him and were not disturbed and a little frightened or you somehow found comfort in his tirades and over the edge rambles, often about his own woes, I fear we are lost. He is a half-step from wearing a uniform with a chestful of medals and ribbons, demanding that the obsequious flunkies around him call him Generalissimo.

The time is now. Not later.

It is time for this person to fully commit to doing everything in the many powers given to him in his position to take this on for the benefit of all the people and not himself, his family or his cronies. It is time to act like there is no tomorrow and throw away the idea of half measures. ‘

As Churchill states in the words at the top: we are entering a period of consequences.

We should pay special attention to his words of warning because, more than ever, they apply at this moment in time.

Now is the time for full measures.

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They who have been bred in the school of politics fail now and always to face the facts. Their measures are half measures and makeshifts merely. They put off the day of settlement, and meanwhile the debt accumulates.

–Henry David Thoreau

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“I learned this, at least, by my experiment: that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.”

― Henry David Thoreau, Walden: Or, Life in the Woods

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This is a new painting, 18″ by 24″ on panel, that is headed to the Principle Gallery for my upcoming show, Redtree: New Growth, that opens June 7. It’s been one of those pieces that keeps drawing my eye in its direction here in the studio. Maybe it’s the rings of colorful flowers– part of the New Growth from the show’s title–that encircle the Red Tree that attract my eye. They have a gem-like quality in the landscape.

I have mentioned in the past how I view many of my Red Tree paintings as being portraiture as much as they are landscapes, with the Red Tree and the foreground landscape often serving as the head and shoulders of a portrayed figure.  That certainly holds true for this piece, which I have titled  The Pharaoh’s Necklace.

In this piece, I see the Red Tree as a head held high with the colorful bands around the mound– the neck here– transforming from beds of flowers into a sort of necklace like those seen of the pharaohs of ancient Egypt. By the way, for your daily dose of useless facts, that type of necklace is called a usekh or wesekh.

Seeing this painting as a portrait, I see it as a portrayal of the strength and pride of someone who has, as Thoreau describes above, endeavored to live the life they have imagined in their dreams and have met with unexpected success.

More than that, it’s a painting of possibility, one that points out that we all have the potential to realize our hopes and aspirations, That is, if we can first formulate a dream. I sometimes get the feeling that many people have never given their dreams much thought.

As to those who have, I often wonder if many people actually maintain the dreams of their youth into their adulthood. If not, have they convinced themselves that these dreams were foolish and unattainable then finally ceased all pursuit? Or perhaps they had aspirations that didn’t match up with their actual strengths and abilities?

For example, I knew at an early age that my dream of being the ace of the St. Louis Cardinals pitching staff was off the table. And I never had the nerve to be a master thief. I knew my dreams had to focus on the few qualities I possessed and prized if they were ever going to come to fruition, if I was ever going to wear my own pharaoh’s necklace.

And, thankfully, there are some days when I do feel that I am sporting my own gem encrusted usekh. Those are the good days of this life and this painting is how those certain days feel to me.

 

 

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Hokusai- First Cargo Boat Battling the Wave

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You must live in the present, launch yourself on every wave, find your eternity in each moment.

—-Henry David Thoreau

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Really felt like looking at some of my favorite Japanese prints from the 19th century this morning, mainly from Hokusai and Hiroshige. There are a couple here, including the one above, that led to the iconic Great Wave from Hokusai, shown just below.

With their great rhythm, harmony, and force, I could look at these pieces continuously and never feel like I’ve looked enough.

As for the symbolism of the wave today, you can plug in whatever meaning pleases you.

I know what it means for me today. And, with a bit of hope, tomorrow.

Hokusai- The Great Wave

Hokusai- Feminine/Male Wave Kammachi Festival Float Ceiling Panels

Feminine Wave – From Float Panel Hokusai

Hokusai

Hokusai

Hiroshige- Navaro Rapids

Hiroshige- Sea Off Satta Point

HiroshigeThe Wave 1859

Hokusai- View of Honmoku off Kanagawa

19th Century Japaneses Woodblock -Artist Not Indicated

 

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It is better to have your head in the clouds, and know where you are, if indeed you cannot get it above them, than to breathe the clearer atmosphere below them, and think that you are in paradise.

–Henry David Thoreau

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This is a new painting, titled Aurae, that is part of my upcoming June show at the Principle Gallery. It has a real presence in a space, mainly to its strong colors and its sheer size, 36″ by 36″. I know that it’s a piece that my eyes keep coming back to during the day as I am working in the studio and with each look comes a deep and satisfying pang.

Pang.

I don’t know what that even means except that it feels good.

I guess it also means that it feels right and true.

Core. Essential.

I just feel a pang inside, in that area between my head and my heart, when I look at it.

Aurae is the plural of aura and it refers to the pale blue aurae that runs around each cloud. These blue aurae were actually never meant to be so visible. They were meant to be a step to another upcoming layer (or layers) that would have undoubtedly altered the final painting from what you are seeing. But once they were in place, they suddenly made the piece jump to life. The whole piece seemed to speak at that point and I knew I couldn’t cover these aurae with more paint.

But aurae also refers to the general atmosphere that surrounds the central Red Tree here. It’s an atmosphere of completeness, of self-knowledge.  Or as Thoreau said in the words at the top, of knowing where you truly are as a human.

I am going to stop talking about it. The more I write, the less I seem to be saying.

Let’s just go with pang.

 

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Rules: Replay

I wrote the following post back in early 2009.  I am replaying it today just as a reminder to myself to not get too caught up in my own set of rules for my work.  I have to tell myself to remember that sometimes it’s the straying from the norm that creates the new norm.

GC Myers-  Solitary Crossing- 2009

 

Any fool can make a rule, and any fool will mind it.

     –Henry David Thoreau

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I have always had a problem with adhering to rules, in practically all aspects of my life.  It’s as though when a rule is presented, a part of me automatically starts figuring out an exception to the rule, a way to go around it.  In everyday life this is not always a desirable trait, often putting one at odds with the law and one’s own conscience.

But, as luck would have it, this trait is indispensable in art.

It’s always amazing to me how many artists are tied to their own set of rules and nothing can deter this adherence, even if straying a bit might actually cause their work to really blossom.

For example, I know a painter who will generally only paint what is before him, either in person or in photos, and will not add or subtract any detail from the scene.  He once showed me a painting that was really painted beautifully, rich and bold. Everything worked well and the piece was really eye-catching except for a telephone pole that bisected, in a very intrusive fashion, the very middle of the canvas. It was a real distraction that threw off the whole weight of the composition and stripped away a lot of the appeal that it might hold.

Why is this pole here?” I asked.

He gave me a quizzical look then said, “Because it’s there.

He explained that it was in the scene as he had photographed it. When I asked if it had any purpose in the painting he said that it didn’t but it was part of the original scene as he saw it.

There was a certain realization that came from this brief exchange.  I realized that there were truly talented artists who can sometimes be shackled by their own rules and that absolute adherence to any arbitrary rule can be the death of creative expression.

Now, I’m sure there will be those who would argue this point and would be able to point out any number of examples that might contradict this statement.  So what? They are mere exceptions to this loosely formed rule.

So, kids, here’s the moral of this story:  In art, keep the rules around as guidelines, but when you need to paint outside the lines or cut out that ugly pole that is breaking up a beautiful scene, just do it.

PS: I would probably amend the wording in Thoreau’s quote to damn fool. Those two words seemed forever linked in my mind. Besides, if you’re a fool there’s a pretty good chance you’re a damn fool.

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GC Myers- The Old Man smNone are so old as those who have outlived enthusiasm.
Henry David Thoreau

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This is a new painting that measures 12″ by 6″ on panel and is part of my show at the West End Gallery that opens in about two weeks, on July 22.

I  call it The Old Man.

For me it symbolizes someone in their final years and days of life who has lost enthusiasm for this world, who sees it as a place that has changed beyond all recognition or comprehension.  It is no longer their world, which feels like an alien landscape in which they are stranded.

They feel detached from the lifeblood of the now and of the future, clinging to what remains of the past in their memories and connections, both which grow smaller and smaller with the passing of time.  After a time, even pulling from that field of memory brings no joy.

It becomes a painful waiting game beneath an unblinking sun.

That sounds sad, I know.  But there is something positive in it as well.  I see this as a cautionary piece, one that warns against disengaging from the world even as it changes from that which we have known and accepted.  The world keeps on moving and we must remain enthusiastic and find new joy in this ever changing world.

That’s my take on this painting, most likely formed from some personal observations. Perhaps you will see something other than this when you look at this image, something that jibes with your view of the world.

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GC Myers- Contact smThe morning wind forever blows, the poem of creation is uninterrupted; but few are the ears to hear it.

Henry David Thoreau

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This new painting is 24″ by 30″ on canvas and is titled Contact.  The words from Thoreau above speak pretty clearly to what I see in this piece,  that we often ignore the beauty and wonder of the natural world that exists all around us.  How many of us take the time to actually look at the sway of the trees in the breeze or the pattern of the stars in the night sky?  Sadly, we’re more likely now to see these things on our phones or laptops.

We’re too  busy, too distracted to have much interaction or contact with the wonder of the world that is often within our reach.

The buildings here seem closed in and eyeless, almost as though they are turned away from and oblivious to the world beyond their narrow line of sight.  They are symbolically in the shadow of the hillside, rising in a pyramid-ish form toward the open fields and woods that open to the radiating sky.  The sun has a warm and eye-like presence and the Red Tree seems to have reached a sort of tranquil communion with it.

Contact.

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GC Myers- I Was Lost 1997Not until we are lost do we begin to understand ourselves.

Henry David Thoreau

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I used the painting above to illustrate a post several years back.  Titled I Was Lost, this is an experimental piece I did back in early 1997.  It remains one of my favorite pieces, one that I linger over when I come across it in my computer’s files or when I go through some older work stored in a bin here in the studio.

There’s nothing special about this piece.  It’s a simple thought that was quickly rendered.  It definitely didn’t end up  anywhere in the vicinity of perfection.  Some of the lines veer  and quiver uncertainly while the tree trunks sometimes bulge erratically. There’s not really much to grab onto in  this piece.

Yet for all it’s deficiencies there is something in this painting that simply speaks to me in a personal way.  There’s a flawed elegance in it that moves me– a grace that provides me with hope on those days when the world seems bleak and it is hard to see beyond the trees that obscure the path ahead.

Thoreau’s words mesh well with this piece.  To put it another way: Adversity builds character.  A-B-C.

When we are lost in the woods, look past the trees that block our view.  There’s a way forward. We may not like it at the time but every challenge provides us with the opportunity to discover more of who we really are.

Sorry for going off on a pep talk this morning.  Hopefully, you didn’t need it.  And if you did, I hope this helps a bit.

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GC myers-Sanctuary A couple of days ago I wrote about the theme behind my upcoming Home+Land show at the West End Gallery, briefly describing that feeling of feeling at home in a place.  This homing instinct has been noted by others including a passage in the book Desert Solitaire from late author/environmentalist Edward Abbey.

Written in 1968, the book tells of his time as seasonal park ranger at Utah’s Arches National Park in the 1950’s and has been compared to Thoreau‘s Walden for the philosophical ruminations that run alongside his stories of working the park.  I read it probably well over thirty years ago and had forgotten this short passage until running across it on another site.  It fit so well into the other day’s post that I thought I would share it:

Every man, every woman, carries in heart and mind the image of the ideal place, the right place, the one true home, known or unknown, actual or visionary.  A houseboat in Kashmir, a view down Atlantic Avenue in Brooklyn, a gray gothic  farmhouse two stories high at the end of a red dog road in the Allegheny Mountains, a cabin on the shore of a blue lake in spruce and fir country, a greasy alley near the Hoboken waterfront, or even, possibly, for those of a less demanding sensibility, the world to be seen from a comfortable apartment high in the tender, velvety smog of Manhattan, Chicago, Paris, Tokyo, Rio or Rome—there’s no limit to the human capacity for the homing sentiment. Theologians, sky pilots, astronauts have even felt the appeal of home calling to them from up above, in the cold black outback of interstellar space.

I know that this homing instinct, the need to be peacefully at ease in a place, has been a prime motivator in many parts of my life and it shows itself in my work on an a regular basis.  The example at the top very much reflects this sense of home and is called, fittingly, Sanctuary.  It is part of my show Native Voice which hangs now at the Principle Gallery and ends July 6.

 

 

 

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GC Myers-  Soft Dream of Night smIf one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with success unexpected in common hours.

–Henry David Thoreau

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This has long been one of my favorite pieces in the studio, a  14″ by 24″ painting on paper from 2002 called Soft Dream of Night.  It was part of the work that I completed in early 2002 in the aftermath of  9/11 .  It is considered part of what has been  referred to as my Dark Work.  It was work that I feel was very reflective of the feeling of that time and, as a result, was not as deeply embraced as my  typical work that has a more optimistic and forward-looking tone.  As a result, I was able to hold on to several pieces from that group which pleased me because they just felt so emotionally wrought to me that I liked the idea that they stayed in place.

This piece has evolved in feeling over the years for me, from a feeling of regretful, mournful retrospection to one that offers  the promise of a road forward, one that climbs through rich fields with the brightness  of  the moon to light the way.  Though it has a darkness beneath its surface, it no longer feels dark in tone.  It has a confidence and positive feel that would not have come to mind eleven years ago.

Time often changes our perceptions on many things.  I like that this piece has evolved for me and was not forever mired in the memory and tragedy of that time.  Perhaps the darkness underneath this painting is that memory, always present.  But above, life moves forward and dreams are still lived out.

As it should be…

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