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Posts Tagged ‘Recent Paintings’

GC Myers- Icon: Joe H.Here’s my latest entry into the Icon series, a 12″ by 12″ canvas piece that is titled Icon: Joe H.  He is my 3rd great-grandfather and his name was Joseph Harris and he was born in the Lindley (the town named after our common ancestor, Eleazer Lindsley,who was among the first Icons) area south of Corning in 1833.

He led a fairly typical life for the time and place, serving in the Civil War and raising a family.  He worked primarily as a blacksmith and a sawyer ( I have a lot of lumbermen in my family– maybe that’s where my affinity for trees comes from) in his early years, working for a number of years in the then booming timber business that was taking place in northern Pennsylvania and western NY.   It was there that his wife, Emeline Whitney, died just a year or so after the end of the Civil War.  Later in his life, he returned to the area of his birth, settling in as a farmer  just over the border in Pennsylvania where he died in 1922.

That was about the extent of his life for me, at least what I could find of it in records.  I did discover that he married his step-sister, Jennie, who was twenty years younger, as his second wife.  But it was my research into local newspapers that gave me a better sense of him.

Looking at records gave no indication of anything but the basics but in his 1922 death notice printed in the Wellsboro Agitator ( I love the name of that paper!) the headline lists him as a “Skilled and Noted Musician.”  It goes on to say that he had been the one-time Banjo Champion of the United States.  He very well may have picked up the banjo from his Civil War experience as it’s popularity in the time after the war is often attributed to many people being exposed to it for the first time during their service.  I could never find anything to document a championship which was no big surprise as it most likely occurred somewhere in the 1870’s or 1880’s and whatever group sanctioned the competition is more than likely no longer in existence.

But I was pleased to know that music played a big part in his life and I later found an item that confirmed this.  It stated that his son, William Harris, was working as a musician in one of the  oilfield boom towns in northern PA in the 1890’s when he tragically took his own life by shooting himself at the hotel where he was living.  As is often the case, you find a lot of tragedy when you look backwards so it’s some consolation to know that there was a bit of music and joy mixed in there somewhere.

I did visit Joe’s gravesite a while back.  It is a bare-boned and flat plot of land that sits next to a harsh little trailer park visible from the new interstate.  Standing at his grave you looked into the backyard of several trailers, the kind of yards scattered with kids toys, spare tires and oil drums.

It made me a little sad but then, I guess a guy who lived through the Civil War, endured the death of his first wife and several of his children before him and lived to see the first World War, this wasn’t all that bad.

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GC Myers- Where the Winds GatherSometimes I will get an image in my mind that seems all fleshed out and full.  It’s just a matter of moving that image from the inner workings of my consciousness into the outer world of reality.  Sometimes, it goes smoothly and the final painting matches that first thought of it.

But more often, that trip from thought to reality produces something completely unlike the original vision. And sometimes that is not so good.  The work shows the struggle in trying to force the vision into reality and the whole thing looks forced and without rhythm.  But occasionally, one slips out that is not at all like the original vision but somehow finds its own rhythm and comes to life on its own.

I think that is what happened with the painting shown above, a small 9″ by 12″ canvas that I call Where the Winds Gather.  I’ve had an image of this painting in my mind for a few weeks and as I would be doing other things it would often bounce through my mind.  But it looked much different than this painting.  The color was not the same nor was the manner in which the whirls of wind in the sky were painted.  Some of that is the result of working in a smaller size which restricted the type of marks I could make with my brush.

There was a point when I was well into this piece that I could see that it had strayed far afield from my original concept and I began losing my enthusiasm.  For a while I wanted to just set it aside or simply call it a day and paint it over.  But I decided to push through and see if it could evolve into something more.  And slowly it did, at  least in my own eyes.  There’s an interesting balance of rough and soft in this and the pattern in the sky came together much better than it appeared in its earlier form.

There’s just something I like in this piece.  Maybe it’s just the fact that it came to life despite my own original misgivings.  I know that I admire that kind of determination from someone in overcoming the low expectations placed on them.  Grit.

Maybe that should be the title– Gritty Determination.

 

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GC Myers- Dissolve small

Another painting from my upcoming West End Gallery show, Home+Land, is the not so new painting above called Dissolve.  After it was completed and sent to a gallery, I lost track of it and thought that it had been sold.  But in fact it was on loan to adorn a design center in the DC area and was recently returned.

I was excited when I learned that it was still around because there were so many things in this piece that appealed to me.  I knew immediately that I wanted to show it in this show as it fits in so many ways.

Here’s what I wrote about this piece a few years back when the piece was completed:

This painting called Dissolve is another in the series I’ve been working in for the past few months.  This 24″ by 36″ piece is based very much on the same format as Like Sugar In Water, [a large 36″ by 60″ painting from that same time, shown below].  Both paintings grow from the bottom where they begin in structured blocks of color.  The path cuts through, rising from the geometry of the fields up to a plain that flattens out.  The path continues by the red-roofed house and is not seen again as it enters the broad yellow field that runs to the horizon.  The path’s upward movement is continued in  the spreading bare limbs of the distant tree which merges into the broken mosaic of the sky.

GC Myers- Like Sugar In Water

GC Myers- Like Sugar In Water

It’s a simple concept and a simple composition, dependent on the complexity of the color and the placement of the elements in order to transmit feeling and emotion.  These simpler compositions, when done so that they work well, are often very potent purveyors of feeling and are among my persoanl favorites.  The stripped down nature of the scene takes away all distractions and centers the essence of the work in the willing viewer’s eyes, making it very accessible to those who connect with it.  And that is much of what I hope for my work- to create work that stirs strong emotion within a seeming;ly simple context.

Maybe there’s more to it than this.  I can’t be sure if my thoughts and interpretations are any more valid than those of a first-time viewer.  That’s the great thing about art– there are no absolutes.  It’s also the thing about art that scares a lot of people.  Many people fear the gray areas of this world, of which there are many,  and desire absolute belief and knowledge in all aspects of their lives.   But art most often  lives in the ambiguity, the uncertainty,  of those gray areas and that can be unsettling to some. 

 Dissolve seems absolute and certain at first glance but is all about the gray areas of our world and our belief.  At least as I see it…

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GC Myers- Rigel smMy show, Into the Common Ground, hangs for one more week, until January 12th,  at the Kada Gallery in Erie.  One of the paintings that I was asked about quite often at the opening back in early December was this piece, a 20″ by 24″ canvas titled Rigel.  What was that blue orb?  The sun?

Well, when I was painting this piece there just seemed to be something a bit different in the feel of it before I had even opted for the blue ball in the sky.  Maybe it was the ultra warmth of the red and yellows that made me want to counter it somehow or maybe that odd feeling made me want to accentuate it even more.  I am not really sure.

But the blue orb appeared and all that came to mind was the star Rigel which appears in the night sky as the foot of the constellation Orion.  Rigel is one of the brightest stars in the night sky and is a blue giant star, extremely hot and large but short-lived due due to the intensity with which it burns.  It’s a star that I always look for in the winter sky when I make my way home in the walk from my studio.

It’s brightness and location in Orion make it jump from the dark sky.  In those moments the light from it seems so cold and distant which seems like a paradox given the great heat with which it burns.  And it’s that paradox that I saw in the blue orb in this painting.

A rightness in its wrongness.

It’s a painting that I always linger over for a few moments when I run through this show as it makes me think about so many other things than what seems obvious on the surface.

And I like that in a painting…

 

 

 

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GC Myers- Blue Zone

I wanted to take a bit of a break from writing about tomorrow’s opening of my show, Layers, at the West End Gallery.  But while I was planning to just feature a song here today I found that this painting from the show, Blue Zone, fit in with the feel of the song I had selected, What’s Going On, from the late, great Marvin Gaye.

There’s a tiny figure standing alone on the horizon outside the house under a  segmented sky with a blue sun above.  It’s a piece that has both an inviting warmth and a feeling of alienation as the figure seems overwhelmed by the strangeness of this world.  I can almost hear him saying, … tell me, what’s going on

This song from Marvin Gaye, one of the more elegant songs of protest, is one that is old enough that it sometimes slips from memory.  But  simply hearing that saxophone come in at the beginning and Gaye’s silky smooth voice following it is an ample reminder that this is truly a great song.

Enjoy and have a great day…

 

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Archaeology: All We Leave Behind

Archaeology: All We Leave Behind

As the title suggests, there are a few paintings from my Strata and Archaeology series in the Layers show that opens Friday at the West End Gallery.  The piece above, Archaeology: All We Leave Behind, is a 12″ by 24″ canvas is the latest and perhaps last entry in the Archaeology series.

I am considering retiring this series that started back in 2008 although I can’t say I won’t revisit it at some distant point in the future.  It has been a series of paintings that has been among my favorites, both in painting and in delving deeper into them, as well as being important to my development as an artist.  When I first started the series, it came at point when I was in need of inspiration and was questioning my future as an artist.  These paintings gave me footing, a firm base to rest on while I gathered what I needed to move on.

Looking at these pieces, I am almost always surprised when I get to inspect the underground artifacts.  So many of the items  were painted  without any forethought or afterthought so once they were done and I had moved on to the next item in the debris field, they sometimes escaped my notice of their singularity.  They just became part of a larger pattern of forms and color.  But going back and looking at the items later gives me little surprises that sometimes make me smile and sometimes scratch my head, wondering what the hell some not quite recognizable thing is or what I might have meant by its inclusion.

But all things must come to an end, which is actually the theme of this series.  And this piece, which took over a year to complete as I worked on it a bit at a time,  seems like a fitting end.  And if it does end up being the last in its line, what better place to show it than where my little journey as a painter began back in 1995, the West End Gallery.

Here’s another Archaeology piece in the show, Archaeology: Formed in the Past,  one from a few years back that has a favorite of mine from the minute it was completed:

Archaeology: Formed in the Past

Archaeology: Formed in the Past

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GC Myers-  Led Home smFor the mystic what is how. For the craftsman how is what. For the artist what and how are one.

–William McElcheran, Canadian Sculptor 1927-1999

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I came across this quote this morning from the Canadian sculptor William McElcheran and lost myself in the circle logic of its semantics.  It made immediate sense yet somehow did not.  It was like a mist that I could see and feel but still  couldn’t quite  get in my grasp.  And maybe that is the very point of the quote, that art has both a tangible and intangible element.  It seems clear and within reach but there is mist-like quality that one can’t quite put their finger on.  And perhaps that is the very definition of art– to try to put that misty mystical element within reach,  to try to capture what is not quite visible.

Emotion.

Spirit.

I don’t know, maybe its too early on a Sunday morning to be pondering what is how and how is what.

However, it does provide a somewhat proper intro to some Sunday music.  Using the mystical theme, I thought some classic Van Morrison might be in order.  Here’s Into the Mystic from all the way back in 1970.  It stills feel fresh and in the moment.  And that, too, defines art.

The painting at the top is Led Home is a 10″ by 30″ canvas and is at the Principle Gallery for the Traveler exhibit.

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We cannot live for ourselves alone. Our lives are connected by a thousand invisible threads, and along these sympathetic fibers, our actions run as causes and return to us as results.

–Herman Melville

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GC Myers-Interconnected

I guess Melville’s words above pretty much sum up what I see in much of my work, an interconnection between all beings and things that gives every life definition and meaning.  None of us live in a vacuum and every action has an effect of some sort.  Some we see and feel directly and  some, those reactions further out on those sympathetic fibers, we will never know.  It’s the pebble and pond effect.  We throw a pebble into the pond and we see the first large ripple that returns back towards us.  But it doesn’t stop there.  The initial splash continues to radiate outward in all directions, often beyond our sight.

It’s pretty basic stuff.  But that doesn’t make it any less significant.  We are all part of a larger one and the actions of each of us  creates ripples that touch many others.  So consider your actions and your words as they go out into the bigger pond.

The image above is a new painting, a 12″ by 12″ canvas called Interconnected.  It is part of my upcoming solo show, Traveler, at the Principle Gallery, which opens June 6.

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“There is one single thread binding my way together…the way of the Master consists in doing one’s best…that is all.”

– Confucius 

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GC Myers- The Way of the Master

I originally had a different title in mind for this new painting,which is 24″ by 36″ on canvas.  I saw it as being about the end of a journey, about coming to a point that marked the highest level of emotional  and spiritual development.  But then I remembered this quote from Confucius and it had immediate resonance.

It all comes down to effort in the end.   Everything that comes to us, everything we desire and value,  ultimately depends on the amount of effort we choose to put forth.  Things done half-heartedly and with little attention never prosper or develop.   Those things you take for granted never grow into something more.  They only diminish with less attention.  You can witness  this in every aspect of your life. I know I can see it in my own.  Everything I value– my marriage, my work and my peace of mind– requires hard work  and maintenance, my very best effort.

This full effort ultimately leads to a deeper sense of connection with those things we value, emotionally and spiritually,  and I suppose that’s what this piece signifies for me.  I believe that any thinking person wants to reach their highest point of development, wants mastery over their own physical and spiritual life.  This painting reminds me that it is obtainable if I am willing to give my very best.

As Confucius says: and that is all.

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GC Myers- Happy Trails smI finished this painting, a 10″ by 20″ canvas,  over the weekend.  Every piece has a different feel in process.  Some are struggles, not wanting to show me a way through to the finish.  Every decision and move must be really scrutinized.  Some show me a way but leave me uneasy about my choices until near the end.  And some, like this painting, open wide and invite me in, the process feeling almost effortless.

This painting felt right from the moment it went on the easel.  The composition fell together easily and the colors meshed immediately which left me feeling as though I was simply along for the ride.  Not painting but rather just observing it coming together.  It’s an interesting feeling and one that is highly desirable, at least for me, as the resulting work usually feels naturally free and easy.

And for me this piece has this feel.  It flows easily and the warmth of its colors and the rising elevation of it gives me a sense of joy, as though it represents a desired destination, an endpoint to a long journey.  You always hope that your journey will end well and this piece is symbolic of that hope.  I call it Happy Trails.

Some of you of a certain age will probably immediately associate this with the theme song  of  film and television cowboy Roy Rogers , written by his wife, cowgirl Dale Evans.  Those of you of a slightly younger age will probably think of the song that Van Halen with David Lee Roth used to end its shows.  And those of an even younger age will probably just think that its a catchy title.  I fall into the first group, having watched reruns of the Roy Rogers Show on Saturday mornings as a kid, mainly because we only had a couple of channels.  Plus, I did like Trigger and Roy’s sidekick, Gabby Hayes.  And the theme song which ended every show.

It’s a catchy and pleasantly warm song.  Its feel and title fit this painting well.  Here’s a lovely version that I found online from a gentleman on a ukulele named Patrick Hildebrand Sr. from the Amazing Music Store in Pacific Palisades, California.  The uke’s warm tones and his pleasant voice fit this song well.

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