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Posts Tagged ‘Red Tree’

GC Myers- Reaching to Time sm

I was checking the stats for my blog this morning.  One of them is a list of most viewed posts from the prior day.  I saw the title for one and it didn’t ring a bell so I checked it out, finding that it related in a way to a post from earlier in the week when I wrote about an unusual character in my wife’s ancestry.  As I said, it’s wonderful running across great stories from one’s family history.  But on the flip side, when you come across a story that is tragic or just sad it sticks with you in a different way.  I thought I’d rerun this post from back in 2010 because in the last few paragraphs the story relates to how I view my Red Tree:

I woke up much too early this morning.  Deep darkness and quiet but my mind racing.  Oddly enough I found myself thinking of a person I had come across in my explorations in my personal genealogy.  It was a cousin  several generations back, someone who lived in the late 1800’s in rural northern Pennsylvania.  The name was one of those you often come across in genealogy, one with few hints as to the life they led.  Few traces of their existence at all. 

 At the time, it piqued my curiosity for some reason I couldn’t identify.  He was simply a son of  the brother of one of my great-great grandparents.  As I said, you run across these people by the droves in genealogy, people who show up then disappear in the mist of history, many dying at a young age.  But this one had something that made me want to look further.  I could find nothing but a mention in an early census record then nothing.  No family of any sort.  No military service.  No land or property.  No listings in the cemeteries around where he lived.  I searched all the local records available to me and finally came across one lone record.  One mention of this name at the right time in the right place, a decade or so from when I lost sight of them.

It was a census record and this person was now in their late 30’s.  It was one line with no other family members, one of many in a long list that stretched over two pages.  I had seen this before.  Maybe this was a jail or a prison.  I had other family members in my tree who, when the census rolled around, were incarcerated and showed up for those years as prisoners.  So I went to the beginning of the list and there was my answer.

It wasn’t a prison.  Well, not in name.  It was the County Home.  This person was either insane or mentally or physically handicapped and was living out their life in a home when they could or would no longer be cared for by family.  It struck me at the time that this was someone who lived and experienced as we all do and who has probably not been thought of in many, many decades.  If ever.

This all came back to me in a flash as I laid there in the dark this morning.  I began to think of what I do and, as is often the case when I find myself wide awake  in the dark at 3:30 AM, began to question why I do it and what purpose it serves in this world.  Is there any value other than pretty pictures to hang on a wall?  How does my work pertain to someone like my relative who lived and died in obscurity? 

In my work, the red tree is the most prominent symbol used.   I see myself as the red tree when I look at these paintings and see it as a way of calling attention to the simple fact that I exist in this world.  I think that may be what others see as well– a symbol of their own existence and uniqueness in the world. 

If I am a red tree, isn’t everyone a red tree in some way?  Isn’t my distant cousin living in a rural county home, alone and apart from family, a red tree as well?  What was his uniqueness, his exceptionalism?  He had something, I’m sure.  We all do.

And it came to me then, as I laid in the blackness.  Maybe the red tree isn’t about my own uniqueness.  Maybe it was about recognizing the uniqueness of others and seeing ourselves in them, recognizing that we all have special qualities to celebrate.  Maybe that is the real purpose in what I do.  Perhaps this realization that everyone has an exceptionalism that deserves recognition and celebration is why I find it so hard to shake the red tree from my vocabulary of imagery. 

 Don’t we all deserve to be a red tree, in someone’s eyes?

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1999 GC Myers TangoI was recently alerted that three of older pieces, pre-2000 and pre-Red Tree, were available at an antique shop in western Virginia, part of a recently acquired estate.  Looking into this, I found that they were indeed my paintings, including one, Tango (above), that was a favorite of mine from that time.

They were also mistakenly identified as prints, probably due to the numbering on the back that identifies the year and sequence of the painting.  Also, I was  painting on a smooth surface so there wasn’t a lot of evident surface texture.  To the the casual observer they might appear to be prints.  I used to have people ask about that a lot in those days.

As a result of mistaking them for prints they were priced at a very low price, far below what they were worth.  I was torn between the idea of contacting the shop to alert them that these were not prints and my desire to have these pieces back with me as I don’t have much work from this time, almost all of it having found new homes long ago.  Plus, the idea of having Tango return was exciting to me.  It’s one of those pieces that really stand out in my mind from that time and I wanted to see how it had aged over the past 16 years or so.

I decided that we would buy them back without notifying the seller of their mistake.  I don’t know if that was wrong but the shop had failed to do any research and were devaluing the work by their omission.   I looked at this as a way of taking them off the market at the devalued price that they asked.

They arrived last week and it was such a thrill to see them again.  The framing for Tango was in an older style, stained a deep green that I stopped using not too long after this time.  But it was tight and clean and the painting was just as I remembered it, actually a bit sharper and brighter than my memory.  It held up as well as I had hoped it might and that was satisfying.

A pleasant homecoming.  I don’t think I will let this one go again…

 

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GC Myers Dominion smI have been away for a few days, taking in a couple of plays at the Shaw Festival in Canada.  I will write more about that later.  For this morning, I wanted to rerun a post that I first ran back in 2009 and again 2012.  It’s a post that always helps me find personal clarity.

Sometimes, usually at certain points of my year, there are times when I begin to question what I do and who I am as an artist.  It’s a time when my normal self-confidence falls aside and I fret about the future of my work.  It’s an internal struggle that usually resolves itself in the paint itself.  I paint and the doubts fade away, replaced by new revelations found in the spaces of my work.  Here’s what I wrote a few years back: 

There was an episode of Mystery! on PBS starring Kenneth Branagh as Swedish detective Wallander.  It was okay, a nice production but certainly nothing remarkable in the story.  But there was a part at the end that struck home with me and related very much to my life as a painter.  Wallander’s father, played by the great character actor David Warner, was, like me, a landscape painter.  Now aged and in the beginning stages of Alzheimer’s, his son comes to him and intimates that he can’t go on as a detective, that he can’t take the stress.  The painter then recalls how  when Wallander  was a boy he would ask his father about his painting, asking, “Why are they always the same, Dad?  Why don’t you do something different”

He said he could never explain.  Each morning when he began to paint, he would tell himself that maybe today he would do a seascape or a still life or maybe an abstract, just splash on the paint and see where it takes him.  But then he would start and each day he would paint the same thing- a landscape.  Whatever he did,  that was what came out.  He then said to his son, ” What you have is your painting- I may not like it, you may not like it but it’s yours.”

That may not translate as well on paper without the atmospheric camera shots and the underscored music but for me  it said a lot in how I think about my body of work.  Like the father, I used to worry that I would have to do other things- still lifes, portraits, etc.- to prove my worth as a painter but at the end of each day I found myself  looking at a landscape, most often with a red tree.  As time has passed, I have shed away those worries.  I don’t paint portraits.  Don’t paint still life.  I paint what comes out and most often it is the landscape.  And that red tree that I once damned when I first realized it had became a part of who I am.

I realized you have to stop damning who you are…

Here is that clip:

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GC Myers- In the Window- Dream Away smIn my picture of the world there is a vast outer realm and an equally vast inner realm; between these two stands man, facing now one and now the other, and, according to temperament and disposition, taking the one for the absolute truth by denying or sacrificing the other.

~Carl Jung

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I came across this passage from the writings of ground-breaking psychoanalyst Carl Jung recently and it very much summed up what I have been saying for several years about the manner in which I view my work.  I often call  them internal landscapes, which I see as my inner response or alternative to the outer world.  Perhaps, as Jung says, I am accepting my internal view for absolute truth–as I see it–  by sacrificing the reality of the outer realm.

I don’t know.  To me, both worlds exist fully and have equal validity and I split my existence moving between the two.  Actually, my time spent in that internal land make my time in the outer realm more tolerable.  It’s when I struggle to find my way into that inner world that the outer world becomes more difficult to bear

GC Myers-  Inthe Window- The Searcher smThis idea of inward and outward perspective made me think of a series called In the Window that I had painted a decade ago of views of my landscapes as seen through windows.  The piece at the top, In the Window: Dream Away,  was the first from this series.  It’s an inversion of Jung’s analogy with my internal Red Tree landscape existing here in the outer realm and the external reality occupying the inner space, the window serving as a real and symbolic portal  between the two worlds, one through which I can move back and forth easily.

I had never really thought of this series in those terms.  Initially, this series was meant as a way to present my landscapes in a different manner.  Like a fine piece of jewelry, the landscapes would act as a precious stone and the window and internal space would act as a setting for that stone.  But it really comes down to a perspective on reality and I think at that point I was just beginning to see that these landscape were as much internal as they seemed external while looking out that window.

Hmm, something to think about on a thankfully rainy day…

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GC Myers- Living Flame smI give my annual Gallery Talk this Sunday, September 20, at the Principle Gallery in Alexandria.  These talks generally are pretty loosely formed and easy flowing conversations between the audience and myself, with a lot of audience participation.  That’s a big part of keeping these talks fresh.  Usually something new or different reveals itself in these conversations.

Over the past several years, an added part of these talks has been the drawing for one of my paintings.  It’s not something I take lightly.  As I’ve said in the past, I want to give away paintings where I feel a pang of loss in giving them away, want them to have some sort of meaning for me so that this is not just an empty gesture.

And it is a real gesture of gratitude.  I am nothing but thankful for all that the people who enjoy my work have provided me both through their buying of my work and in the inspiration which they provide away from the galleries.  Their willingness to examine and respond to my work makes it so much easier to share those things that often stem from places deep inside.  As a result, I try to carefully choose the works that I give away, not wanting to just go the far corner of the closet where I hide those early experiments that make me grimace to look at them now.

I want the selection to matter.  This year’s selection is definitely in this vein.  Shown above, it is titled Living Flame and is a 10″ by 18″ painting on paper.  It is under glass inside an 18″ by 26″ frame so it has some size.  It is painted very much in the style on which my body of work was formed with transparent washes and organic shapes, all surrounding the central figure of the Red Tree.  It is airy and quiet but contemplative, a piece that in many ways could sum up much of my work.

So, I am pleased with this year’s selection and hope you can make it into Old Town for this year’s Gallery Talk which starts at 1 PM.  There are always a few other surprises so I hope you’re there.

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GC Myers- SunbeamThe aim of art is to represent not the outward appearance of things, but their inward significance, and this, and not the external manner and detail, is true reality.
Aristotle
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This new painting, a small 6″ by 12″ canvas that will going with me to Alexandria this coming Sunday for my Gallery Talk at the Principle Gallery,  intrigues me on many levels but mainly in the way in which it challenges my own perception of reality.

I wondered how light would appear in a world that gave it different properties.  For instance, what if instead of a sun, that ever-burning orb in the sky, our light was provided by a ring of light that cut across the sky?  And what if the source of light was darker than the light it provided?  How would it affect how we looked at our world?

The odd thing is that my mind accepts the reality that was created.  And that speaks to the words of Aristotle at the top of the page.  The significance of a piece of art is in how our mind interprets the reality of it, in how it connects  with our inner needs and perceptions.

For me, this small painting works on those terms.  It is warm and inviting and familiar even though the reality of the setting is alien to me.  I feel as comfortable–  perhaps even more– in this environment as I would in a perfectly represented image of the real world in which we live.

And that is all I ask of it…

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GC Myers- Plates 2015I had a dream a month or so ago that has had me working on fields of painted shapes, trying to recapture the forms that captivated me in that dream.  It’s an elusive thing and I am still trying to figure out where this fits in my work.

GC Myers- Time Frames  smI have used many of these attempts as the background texture under a few pieces featuring some of my normal imagery– the Red Tree in a landscape for example, like the painting shown here on the right.  I like the added depth that this background gives the work and could easily see it becoming a regular part of my process.

But part of me sees the painted group of shapes as an entity in and of itself, something that could and should stand alone.  Even though I feel my normal work is built primarily on abstract forms, showing a piece like the one shown here at the top of the page feels different in many ways, some of which raise fears in me.

First of all, it is based less on emotion than most of my work.  I think my work comes often across because it speaks of and to emotions common to us all.  This work feels more purely meditative, like I am looking at the building blocks of thought and matter.  They simply exist.  No emotion, no judgments, no narrative to fulfill.

And that scares me a bit.  Takes me out of my comfort zone and leaves me feeling more exposed even though I might actually be showing fewer aspects of myself in the work.  Maybe it’s a case of standing naked without the protection of any sort of cover, asking viewers to accept me as I am without trying to influence them with my choice of what I wear over my true being.

That’s a hard thing to do when you’ve been standing in front of people in one guise for so long.  So I struggle tying to determine if this new work can stand naked and alone.  There is much more to explore in it and over the next few months I hope to find the answers I am seeking.

As with all things, we shall see…

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GC Myers- Perpetua

The decisive moment in human evolution is perpetual. That is why the revolutionary spiritual movements that declare all former things worthless are in the right, for nothing has yet happened.

Franz Kafka

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I have been working on some new work that is built on layers of painted textures in the under painting.  They are often in their own way abstract pieces in themselves and I find myself contemplating the possibility of building more on these to create pure abstract paintings without any direction toward representation.  I think there will be at least several attempts in the future to at least explore the possibility, trying to see if I can satisfy my own needs within the realm of abstraction.  But for the moment, the abstract elements support, and hopefully enhance,  my own imagery.

Much like my normal gessoed surfaces, these painted underlying elements are meant to create a visual thumbprint, a distinct and individual surface that has a life force of its own and adds a measure of depth to the whole of the painting.  Some of the painted textures have been chaotic with multiple shapes and colors throughout.  Others use similar forms and colors set in a loosely patterned manner.  Whether they are random or built in a pattern, they must have some natural flow and depth within.

This new piece above is an 18″ by 18″ canvas that I call Perpetua.  It is built on a base of what I would call painted rectangular plates that seem to be descending into the background.  For me, it takes a simple image comprised of only a couple of elements and gives it added levels of depth and meaning.

When I look at this, that background has me considering things beyond the central figure of the Red Tree and its place in the moment.  It becomes a mere marker in a larger continuum, perhaps at the vanguard in its own present time but soon to be surpassed by the progress of the coming future.  Perhaps those plates represent images of past times and those things that were the cutting edges of those times, hovering in the background and supporting a new ascension.

Maybe.  Who knows?  I painted it and much of it remains a mystery to me.

And maybe that is the whole point…

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GC Myers-  The Satisfaction smSatisfaction lies in the effort, not in the attainment. Full effort is full victory.

Mahatma Gandhi

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I often paint the rows of a freshly cut field in my work.  While this creates an interesting visual effect with its pattern of alternating colors, it also satisfies my own need to express the importance — and necessity–of effort for myself and for my work.

I have often pointed out at gallery talks that I spend huge amounts of time alone working in my studio, well over 50,000 hours in the past fifteen years.  I usually make a joke of this, saying that I just tell people I am hard at work during my time in the studio so they will not bother me and that its really not that much work.  Okay, maybe there is some truth there as far as not having people bother me.  But the fact remains that while I find my time in the studio enjoyable as well as enlightening, it requires great effort and work.

And I wouldn’t have it any other way.

I guess that’s because there is usually a moment after finishing a piece or a group of work for a show when I stop and look at the work in its state of completion.  In this moment there is a great sense of satisfaction at the result of my full efforts.  And that full effort gives the results a sense of completeness and their completeness brings me my own completeness, a fulfillment of some small purpose that I find necessary in order to persist in this world.

That small moment of satisfaction makes all the work, all the frustration and missteps, fade away and that which should have depleted me now serves as nourishment.  I find myself strengthened for another day.

Maybe that what I see in this new painting, an 18″ by 18″ canvas which is headed out to California.  It is called The Satisfaction, of course.  It very much reflects what I have written here, with the Red Tree representing someone looking back on the results of a long day of labor.  And again, they feel uplifted rather than worn down.

I know it’s not always that way.  There have been times when work has been very draining, definitely in my past and occasionally even now.  But knowing that  special moment of satisfaction that comes along every so often is out there makes me look forward to the task and the effort ahead.

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GC Myers- Time Frames  smI’ve been working on trying to create a patterned underpainting  in my work, inspired by a dream I had a few weeks back.  It still is moving ahead and is not yet what I saw (or, at least, what I recall seeing) in that dream.  It may never get to that state but it acts as a catalyst,  something that pushes me forward.  This small piece, a 9″ by 12″ canvas, uses blocks or plates much like those I saw in my dream to form a pattern that hovers barely vsisble in the sky.  It doesn’t have the intensity of the color of the dreamed vision but it still creates what I think is an interesting effect on this piece.  It serves as both a step forward and a self-contained entity.

I call this piece Time Frames, alluding to the shapes of the plates in the sky here. Like much of the underlying textures in my work, it refers to those  forces and knowledge that have untold influence on our world and our lives yet remain just beyond our perceptions.

All that we do not know.

At the moment, we are at the leading edge of all knowledge here in this world.  Yet, it is an edge that is always moving forward and what we believe today with all certainty may one day be revealed to be proved false.  Future generations may look back on us and wonder at some of the things we believed to be true.

But you live with what you know and what you see.  Blissfully in the moment even while obscured ultimate truths may be oh so near…

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