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Posts Tagged ‘Principle Gallery’

I guess I’m a little worried.

I tend to worry when I see problems that I have no answers to or have little control in their resolution. 

The latest moment of worry came with the resignation of Evan Bayh from his seat in Congress, citing the frustration of dealing with idealogues of both sides of the aisle and the gridlock resulting from their stubborn belief that theirs is the best and only way to move this country forward. 

It brought to mind a couple of things for me.  The first was an article several weeks ago that asked if we, as a country, had finally become ungovernable.  It cited the the increasing polarity of the two parties over the past two decades with a seemingly total aversion to common ground.  It spoke of the even greater influence of even bigger money lobbyists over the same time and the ever increasing use of stalling tactics, such as the filibuster, to delay the progress of anyof the nation’s business.  It also mentioned a political system that had become so cannibalistic in their personal attacks that it kept our the best people from seeking office, leaving the seats of governance open to those concerned with furthering personal agendas or worse, the agenda of an entity to which they are indebted.

Gone were the days of coming together to do what was needed to serve the country.  Instead it became you say yes, I must say no.  A culture that sees compromise as failure.

I was reminded of a conversation I had a number of years back at the Principle Gallery, in Alexandria just outside DC.  One of their clients and friends was there when I was delivering some work who was a longtime Washington insider, the assistant to a very well known political consultant/strategist.  You would know the name. 

His boss was a Democrat and this gentleman was a Republican.  I commented that this seemed a bit unusual and he said it wasn’t really that odd.  At least,he said,  it wasn’t in the Washington of the past.  He went on to say that he was sickened every day by the partisanship and the ugly tone of both sides, how personal attacks that would have seldom taken place before were now the norm.  He talked about how it was becoming more and more difficult to get anything done and how it was more about satisfying special interests than serving the people.

This was in the spring of 2001.

Things have not gone well in the time since.  We have a completely polarized Congress.  A Supreme Court that seems to put the rights of the corporation above the rights of the citizens, whose recent rulings may very well allow the shamelessly greedy bankers and brokers who sent us to the brink of ruin actually have more power and say in who is elected.  We are constantly bombarded by pundits from both sides who take glee in the failures of the other side which to me says they are taking joy in our failures as a nation.

And we, the great centrist portion of the nation are left with this– a nation served from the edges of both sides.  Nobody is well served this way and nobody is happy but for those who profit from the edges.

So, are we ungovernable?  Do we have any chance of moving forward together as one nation?

I don’t know. 

Like the heading above says, I am worried.  I, like most, feel as though I am powerless to affect change, that my voice is tiny before the great din of Washington and Big Money. 

I’m hoping an answer will appear…

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This is a painting titled Unafraid, that has been showing at the Principle Gallery in Alexandria, VA.  I was looking through some recent work and this smaller piece ( it’s a 6″ by 12″ canvas)  caught my eye.

Maybe it was the fact that I had been looking at older work earlier as I was scanning some older slides to my computer and this reminded me of some of that earlier work.  It had the simplicity of much of that work and the brushwork in the sky harkens back to earlier pieces, as well.

It’s a fine line to walk when you’re dealing with extremely simple compositions, trying to pull out emotion and feel from a minimal number of elements.  If it’s not done right, the piece ends up bland, saying little.  It might have an appealing appearance but it lacks depth and staying power.  It’s like a writer finishing a chapter that is well written but ultimately says nothing that moves the narrative or the reader.  Unsatisfying.  But when a simple piece works, meaning that it is full of feeling and a sense of completeness, it is strikingly dynamic.  The message and meaning is just right there to be seen without filtering through layers of obscuring detail.

I think that’s why I like this little piece so much.  It is what it is.  Unafraid.  It says what it has to say to the viewer quickly and boldly.  Those who feel it will read it  and understand it immediately.  And if the viewer didn’t connect, this painting has the feeling that it doesn’t care.  It’s not trying to make people like it.  It is what it is and it’s not afraid to be such.

Unafraid…

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Hard to believe it’s the first day of December already.  We’re in the last month of this first decade and it seems like we’re still adjusting to living in the 2000’s.

Maybe it’s a good thing.  Put this past decade behind us and start fresh.  There were a lot of things in these past ten years that I think most of us would like to put in the rear view.

Luckily for us, time is very accommodating in that respect.

Time just rushes onward, like a river over the rapids.  It sounds cliche but time truly seems to accelerate as I age.  Maybe it’s just a function of becoming more efficient at the art of wasting time as one ages.  I mean, I’ve had a lot of years to practice this skill and I have to admit, I’ve become pretty good at it.  There aren’t nearly enough hours in the day to accommodate all the ways I would like to waste my time.  Waste is probably the wrong word.  Waste has the implication of there being little if any value to the activity.

Spend is a better choice.  Value becomes a relative term with this word.  What I might consider useful time spent, others might view it as a complete waste of time.

One man’s meat is another man’s poison.

Anyway, time is flying by as I write this.  I’ve already wasted- er, spent–  enough time with this.

Happy December…

The piece at the top is The Dark Blue Above is hanging at the Principle Gallery in Alexandria, VA.  It’s a 12″ by 24″ canvas and one that I think really has great visual pop.

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Blue Canal Pieces- GC MyersThese are two new pieces I recently completed, both 12 ” square canvasses.  They are in the same vein as several other paintings I have completed recently and featured here on the blog.

As I’ve stated before, these pieces are for me all about shapes and forms and color, more so than about an actual depiction of place.  I want to clarify that the feeling and sense of place that is created in these pieces is important to me.  But it is something that comes about as a result of the way forms and color fall together, rather than a premeditated plan for the composition.

The canal in these pieces is very important with that bright blue counterpoint to the red of the roofs and the way it bisects the village.  I have tried using a more subtle color in the canal but that blue pop! makes each painting stand out.

I have considered keeping these pieces together as a set, which is something I have done in years past, but I probably will not this time.

I had an interesting experience with a set of 3 very small paintings that were sold 11 or 12 years ago.  They were tiny landscapes, only about an inch and a half square in size.  They were, like the paintings above, not of any specific location but like many of my landscapes, influenced by the area around my home.  There is a spot on the way to Ithaca called Connecticut Hill that has an interesting look and feel that I often think of when I’m painting.

I met the buyer of this particular set one day at the Principle Gallery in Alexandria, VA  as I was delivering some work and we spoke about the paintings.  He told me that he loved the way they reminded him of an area near he went to college.  I asked him where he had went.  He said Cornell, in Ithaca.  I asked him where this place was he had described.

He said Connecticut Hill.

He didn’t know that I was from near there when we spoke and there was little in those tiny pieces that would make me say they were of that place.  Just the feeling…

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Robertson-Deliberate Final CVR A year or two ago, I was interviewed down in Alexandria by Larry Robertson, who was conducting a couple of hundred interviews with people on the idea of entrepreneurship.  Larry is an expert and consultant on entrepreneurism, advising many enterprises  and lecturing often on the subject at Georgetown and Cornell Universities.  We had met several years before at an opening for my work at the Principle Gallery in Alexandria, when he had obtained a painting of mine.  several years had passed and at an opening a couple of years ago, Larry approached me with an invitation to be interviewed for a book for which he was researching.

So we met a few months later and sat for a couple of hours.  I knew that there was a certain amount of entrepreneurism in being an artist, in that you had to create a product of your own design and establish a network for distributing it out into the wider world.  Basically, you must take your own vision and make it available for others to embrace.  But I thought I had little to offer Larry for his book.

That day Larry explained to me some of his concepts that would be laid out in his book.  He described how he had observed the growth of my career in the Alexandria area and showed me in a small chart how my work acted as a pebble which, upon striking the surface of a pond (which would be the initial successful sale of my work there,) sends out waves that spread along the surface, creating more and more opportunity for my work to be seen and be successful.  He said the success of my work  was a perfect template for success for enterprises of all sizes.  I hadn’t thought of it in that way.

I came away from the interview thinking that I had indeed taken more from the interview than I had given.

Well, Larry’s book has hit the shelves.  It’s titled A Deliberate Pause: Entrepreneurship and Its Moment in Human Progress and is a really engaging read.  He features wonderful guidance from his hundreds of interviews from a wide and varying group of entrepreneurs including Nobel Prize winner Muhammad Yunus , the developer of microcredit where very small loans are given to the very poor so that they may pursue their own vision of enterprise, along with a multitude of  other well known names.  If you have even a small amount of the entrepreneurial spirit running in your veins, this is an invaluable guide with much to offer.

I think that this spirit of innovation and individual creation of vision,  as described in this book, will be a major force in forming the future economy of this country, in pushing along new technologies and new ways of approaching old ideas.  You can go to Larry Robertson’s website for his book by clicking on the book cover shown.  Well worth your time…

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 Vox Spiritus I’m on the road today, heading down to the DC area for tonight’s opening of my show at the Principle Gallery.  The opening begins at 6:30 and, unlike many gallery shows that take a while for the crowds to filter in, usually hits it stride pretty quickly.  I normally am fully engagedin conversation  within moments of coming into the gallery which is kind of nice.  Takes away that awkward time that you have at some shows when you’re standing there waiting for crowd to come in, twiddling your thumbs and hoping that indeed they will come.

 Luckily, the crowds at the Principle are always robust and many of the faces are now familiar even with a mere once a year meeting.  Most of the night is spent circulating through the gallery, explaining what I see in a particular piece or how it came to be.  I talk a little about technique but only if whoever I’m speaking with expresses an interest.  I’ve been to openings where the artist only talks in terms of the type of brush and paint he used and it can be pretty dry.  So I steer clear of technical gibberish when possible.  I try to fill in some of the areas that may appear vague to the viewer, explaining why I feel strongly about the piece in which they’ve taken an interest.  And make no mistake, if I feel confident enough to show the work in such a public venue then I have strong feelings for it.  To show work without the confidence or belief that there is something of value in or something to be said by the work is a big mistake.  I learned that from experience long ago and will only show that which strikes a chord in me. 

I enjoy this conversation and especially enjoy learning more about those who like my work.  It’s always interesting to see the diversity among those who attend and to hear a bit about their lives, which are often far more interesting to me than I could imagine my own being to them.

Anyway, I’m on the road by now and if you’re in the DC/ Alexandria area, please stop in tonight and say hello.

The show is at the Principle Gallery at 208 King Street in Alexandria, VA, beginning at 6:30.  The gallery phone number is 703-739-9326.

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End of the Rainbow Well, it’s the day before the Principle Gallery show that begins tomorrow with an opening that starts at 6:30 and I’m spending the day puttering around in the studio, doing a little painting and getting the studio back in some sort of order as it looks like a twister came through after finishing preparations for a show.  It’s pretty much the same every year.  I try not to get too involved in a painting since I won’t be back at it for a couple of days and I don’t like starting the momentum of a piece then suspending it.  Sometimes just a few short days will change the whole feel I have for a piece in progress, as far as how it’s coming together and where it’s going.

So, I putter.

This is, as I’ve said, my tenth show at the Principle Gallery.  I usually title the show and write a statement that explains the general theme of the main body of work in it.  For this show, we decided to leave the show untitled except to say it was the tenth annual show and I have decided not to write a statement instead letting the work say everything this year.  Besides, after plugging away at this blog, I sometimes feel at a loss for words.

I suppose, looking at the group, that this show could be called Redtree Redux, after the name of my first show there and the first showing of that ubiquitous tree.  There is, by design, an abundance of the Redtree pieces.  I felt that for a show that marked ten years that the overlying theme should be that which has become my signature – the red tree.  

Probably the underlying theme would be that of the journey in the form of the path that runs into and through many of the pieces.  This again is a significant element in my work and seemed fitting to denote a show that represents a milestone of sorts, my tenth show there, on my own journey.   Believe me, fifteen years ago I could have never imagined that my path would wind through forests of red trees to this point.  I couldn’t even see a path back then.  

So this show, for me, is about expressing a certain degree of gratitude to those images that have helped me find a road on which to move ahead as well as to those who have seen something personal in the work that helps them on their own journeys.  

The piece above is titled, fittingly End of the Rainbow.  I think this post says all that has to be said about this piece…

The show starts tomorrow, Friday, June 12th, at the Principle Gallery at 208 King Street in Alexandria, Virginia .

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Out of Darkness        Well, the work for my show that opens this Friday has been delivered, which is a great relief.  While I like having a deadline or a destination to shoot for with my work, there is an immediate sense of relaxation when the task is completed.  Unfortunately, this is often replaced by the stress of fretting over how the show will be accepted at the gallery.  Will people connect with the work?  Will my established collectors see work that will fit in with the paintings  they already own?  Will people even show up?

In the past these questions would have made me a nervous wreck in the week between delivery and the actual show.  This year however, I don’t have nearly the anxiety of past shows.  I’m not absolutely sure why there appears to be more calm this year but maybe it has to do with this being my tenth show at the Principle Gallery and something like my twenty-fifth solo exhibition in galleries overall.  After so many shows I’ve come to realize that I can’t control anything beyond the creation of my work.  Provided I am satisfied and excited by the work, once it is out of my hands the level of success, good or bad,  of the show is dependent on factors on which I have little impact.  The economy.  The weather.  The gallery’s promotion of the show.  These things and many more can have an effect on how well a show does.

And, as I said, all are out of my control.  So, why worry?  

There’s also, finally, after so many shows, a sense of acceptance, at least in my own mind.  For years, I  harbored the fear that my work was not worthy, that it had little validity and may never be accepted by what I imagined the art world to be.  But time has shown me that there has been a validation through the years that comes in the form of the response to the work that finds its way to me.  Many comments, notes and e-mails over the years have convinced me that there is an authenticity to this work, that is has truly had an impact on the lives of others.  For a simple person such as I, can there be a greater validation for the efforts and long hours spent?

So, time has finally afforded me some relief from my normal state of anxiety as I wait for the opening of the show.  Light has appeared and I am out of the darkness.  And that is a good thing…

The painting above is fittingly  titled Out of Darkness and is part of the show about which I’ve been talking, which opens Friday, June 12 at the Principle Gallery on King Street in Alexandria, VA.  The opening starts at 6:30 and I will be there to answer any questions.  Hope to see you there…

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Vade MecumWell, it’s Saturday and I’m on the road to Virginia, Alexandria specifically, to deliver the body of work for my show that opens next Friday, June 12th.  It’s a trip I don’t mind making since it marks the end of a hectic period where there just doesn’t seem to be enough time to get everything done.  

My trip is relatively easy, as easy as any  day with ten or eleven hours of driving can be.  Traffic is usually very light on Saturday mornings, especially in the early hours in which prefer to leave, so it gives me a chance to just glide along and let my mind wander a bit.  

One piece that will be keeping me company on my ride is above, called Vade Mecum, which translates from the Latin as “Go with me” and is usually meant today as a reference manual or something that is carried to instruct one.  I liked either definition and felt that both the literal translation and the object that is carried with you fit this piece.  I really like the depth that goes into this picture and get the feeling that it speaks of a journey and those intangibles which we carry with us as we travel along.  Thus, vade mecum

I’m gonna leave you with some classic Bob Dylan that was one of my favorite singles as a little kid growing up.  Thank god for my sister and the influence her musical choices had on a 7 or 8 old year kid.  I feel so fortunate that I was weaned on this kind of stuff and feel a little bad for today’s kids and the inane kid music that is everywhere– the Wiggles and such.  They may never know what they’re missing.  Anyway, here’s “Positively 4th Street”

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A Strong Will StandsThis is another new painting, titled A Strong Will Stands, which will be going to the Principle Gallery for my show that opens next Friday, June 12.

This is a piece that I think shows better in person than here online or in print.  I think the subtleties of the sky’s color and texture and the overall impact of the painting as whole are somewhat  lost in replication.  That’s why I think it’s important for most work to be seen in person in order to feel a complete sense of it.

This piece is definitely about the large color blocks that comprise the bulk of the picture plane and the movement that is taking place within them as well as the way they play off each other.  There’s a real sense of strength in this piece that I hope comes across to the viewer.

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