Posts Tagged ‘Principle Gallery. Alexandria VA’

The world is little, people are little, human life is little. There is only one big thing — desire.

Willa Cather, The Song of the Lark


This is a new painting that is part of my upcoming June show, Truth and Belief,  at the Principle Gallery in Alexandria. This is a 36″ by 24″ canvas that I am calling The Invocation.

Part of me feels as though this is a painting where I should write more about it.  But another part of me feels that this is a piece that deserves the quiet that allows others to see what they will in it. It has the feel of a piece that could hold many meanings for different people.

I will try to keep my own views brief with the hope that they won’t taint the perspective of others.

This painting has, for me, a definite feeling of long held desires and the sending out of wishes and prayers for their fulfillment. Maybe it’s the angel-like shape created by the negative space of the river and sky, much like the piece that I wrote about last month, Flight of Angels. The bridge here serves as a golden belt for the angel and the light around the shape of the moon creates a halo-like effect. The Red Tree seems to be poised on the shoulder of this angel, whispering its deepest desires in its ear.

This wasn’t painted with this symbolism in mind.  I knew I wanted a river with a bridge in this piece and the bridge was the first thing painted. But it wasn’t placed with the idea that it would represent a belt for an angel.  It was located at a point where I thought it felt right and would simply set the composition into motion. From there, the painting kind of grew organically. The final composition set tone for the  blue and purple color palette.

I’m really enjoying this painting in the studio and am finding new things each day that I didn’t see while painting it. That gives me real satisfaction. Whether that means anything beyond the walls of my studio, well, that’s another thing.

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GC Myers Time to Reflect  smIt is very dangerous to go into eternity with possibilities which one has oneself prevented from becoming realities.  A possibility is a hint from God.  One must follow it.  In every man there is latent the highest possibility, one must follow it.  If God does not wish it then let him prevent it, but one must not hinder oneself.  Trusting to God I have dared, but I was not successful; in that is to be found peace, calm and confidence in God.  I have not dared: that is a woeful thought, a torment in eternity.

–Søren Kierkegaard


There is nothing I can add, except to point out that the image at the top is another new painting, a smaller 9″ by 12″ canvas called Time to Reflect, that is part of my Native Voice exhibit which opens on June 5 at the Principle Gallery.

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GC Myers From Out of the Blue smIn yesterday’s blogpost, I talked a bit about the influence that stained glass had on my work.  Deep color, the luminosity  and lines defining the forms within are all attributes that have found their way into my work.  It was never a conscious decision, one where I said to myself that I was going to try to emulate the look and effect of stained glass.  It was just one of those things that I took in and integrated into my personal aesthetic. Just something I liked to look at.  And that somehow synthesized into the work.

In fact, I wasn’t even aware of the similarity until a few years into my career when several people pointed it out to me, asking if stained glass was a big influence.  I think I always answered yes to the question.  I mean, I liked it a lot so it had to have been an influence on some basic level.

Looking around the studio at the group of new work that is growing for my upcoming June show, Native Voice,  at the Principle Gallery, there are a number of paintings that you can easily see the influence of stained glass.  The piece shown above, From Out of the Blue, really has that feel for me, with the geometry of its puzzle-like pieces in the foreground and the brightness of its sky.  I see that sky in glass as hundreds of small, sharp shards of varying sizes and colors, all radiating outward.

But maybe it being a painting and not stained glass is the attraction for me.  Each medium has its limitations and being able to borrow attributes from one medium and integrate them into the vocabulary and process of another is exciting in itself.  It is painting’s spontaneity that draws me to it, where instinctual moves can be made within moments that change the whole piece.  I don’t know that I could get that with glass and could easily see a piece like From Out of the Blue becoming a contrivance in stained glass.  Too thought out.  Too worked over.  Too clean.

Definitely not from out of the blue— which is how I like it.


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GC Myers- The Elusive Path 2000 smWhile going through the group of older work that I have here in the studio last week I came  across this painting from back in 2000 called The Elusive Path.  It’s one of a small handful of pieces from that time that are still in my possession which means,  since my pre-2000 documentation was pretty spotty, that it is one of the few pieces from that period that I can closely examine.  Oh, there are a few others but they are pretty much misses, paintings that are lacking  in some way.  Some are just too worked over– I was trying to make something out of nothing and didn’t have the tools yet to  do so– and some  are just blah.

But then I pulled out this painting, one that I hadn’t really looked at with intent for years.  This was probably due to a bile green frame that put a taint on the whole thing, making me want to not look for too long in its direction.  I looked at it for a moment then decided I needed to unframe it before casting any judgements on it.  I just couldn’t get past that frame’s influence over the whole.   So I did and was truly pleased with what emerged.

Without the hulking presence of that green frame, this piece felt new again, as though it had a grasp of where I was wanting the work to go at that point and was moving in that direction.  Oh, there have been changes, evolutions of elements and color-handling but the forms and lines are in the continuum.  Plus it held one of the earliest incarnations of the Red Tree which had more or less premiered at my first solo show, fittingly titled RedTree, at the Principle Gallery in 2000.

I’m sitting here this morning looking at this piece now and it seems so different than the painting I had thought of  for all these years as simply being the unfortunate picture trapped in a horrible frame.  It feels alive and new now and I feel a sense of pride in it that I never expected.  I’m looking at it next to a new painting in progress and even though the new one is being painted in a different process with some elements that were not in my vocabulary back in 2000, there is no denying the line that runs from one to the other.

They are one and the same in being true expressions of what I am or desire to be.

And maybe that is the lesson here.  We might be obscured by our trappings, as this painting was by that frame, but if we remain patient and true to what we believe to be our best self we will eventually find a way forward, find our way to our desired destination.  We can find that elusive path.


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 GC Myers-  A Solemn Understanding smI’m on the road today, delivering my show to the Principle Gallery which opens next Friday, June 7th,  there in Alexandria,VA.  It’s always a big relief, physically and mentally, to just get the work out of the studio and into the gallery.  Physically, there is suddenly so much more space in the studio, fewer paintings grabbing at my attention.  It just feels airier.  Mentally, it’s much the same, as though the additional space and light  in the studio suddenly opens up  a bit more space in my mind.  I haven’t even left as I write this but already I am eager to be back at work, invigorated by the cleared space.

The painting above is A Solemn Understanding, a 20″ by 24″ canvas  that is part of this show.   It has very gem-like colors as well as a nice dark warmth and richness to it that gives it a sense of deep pondering, as if the secrets of the universe had  just been revealed to the Red Tree.

Well, I have to go but I thought I’d share a song from several years ago (2004 actually)  from Loretta Lynn‘s collaboration with Jack White on her CD, The Van Lear Rose.  This song, Portland, Oregon, always somehow makes it way to my playlist when I make this drive to Virginia.  Enjoy and stop into to see the work at the gallery if you’re in the area.


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