Posts Tagged ‘Strata Series’

GC Myers-Archaeology- Rooted in the Past smOne of the interesting aspects of doing what I do is seeing where the images eventually finds their way. They have ended up in American Embassies in several countries, in magazines and on book covers here and abroad as well as on several CD covers.  One was even included in a recent history text book.  They have found their way to most corners of the globe, making them much more well traveled than their maker.  And in 2016 a couple of images from my Archaeology and Strata series will be part of the annual calendar for the Spanish Society of Soil Science

GC Myers- On the Shoulders of Time smIt’s gratifying for me to see the work spread out as it has.  You hope, as an artist, that your work has a wider appeal, that there is some common denominator in it that speaks across geographic and cultural boundaries.  You never know when you are in front of the easel if your work will be anything more than a blob of pigment on a bit of canvas destined for the trash or will take on a life of its own and move on.  So to see it move around the globe in some small way is a form of validation for the work, making the next crisis of confidence easier to fight through.  And that is no small thing.

Being Sunday it’s time for a little music and I thought I would play a song that kind of jibes with the soil theme of the work here.  It’s one of my favorite songs to sing along with from one of my all-time favorites, John Prine.  It’s called Please Don’t Bury Me and it’s about as upbeat a song on the subject of dying as you’ll ever hear.  Give a listen (and sing along if you know the words!) and have a great Sunday!


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GC Myers- Time TravelerI finished this new painting, 18″ by 26″  on paper, a few days ago and have been regularly taking it in as it sits in my studio, waiting to be framed for my upcoming show, Traveler, at the Principle Gallery.  I think I am calling this piece Time Traveler but it’s still up in the air as I ponder it for a few more days.

It’s one of a few pieces that will be in this show that are from the Strata series, which are similar to my Archaeology pieces but more focused on the patterns and colors of the underground layers and boulders rather than on artifacts.  I like this mix of the straight representation of the Red Tree in the top half  set against the organic and almost abstract forms of the lower half, giving it a striking visual contrast while still maintaining  harmony.

I normally don’t like to dwell on technique here but  this is also a little technically different from my typical work.  I normally work in one of two ways–in a  reductive manner, where the paint is applied very wet, in puddles,  then removed leaving a transparent and luminous surface or in a more traditional additive manner in which paint is applied in layers building from dark to light.  Usually one one process is used in a piece but the Strata series allows me to easily mix the methods which adds to the visual contrast between the upper and lowers segments.

As I continue to consider this piece, I thought I would play a song this Sunday morning that mentions time.  I thought I would play Time Is On My Side which was a big hit for the Rolling Stones in 1964.  I always assumed it was written by Jagger and Richards but it was actually a cover.  The song was written my Jerry Ragavoy under the pseudonym Norman Meade.  It was first recorded by jazz trombonist Kai Winding in 1963 with the only lyrics being Time is on my side sung by back-up singers Dionne Warwick and Cissy Houston.  It’s an interesting version that I am including below but I really wanted to focus on the version from the Soul Queen of New Orleans, Irma Thomas, which was released around the same time as the Stones’ version.  It has the added lyrics that most of us know and is just a dynamite performance.

Enjoy and have a great Sunday!

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This is a new piece, a little 6″ by 8″ canvas, that I finished in the last few days.  It is in the same vein as my Archaeology series although it is without the artifacts beneath the surface.  I personally refer to them as Strata pieces.

The Strata work still exposes the underground timeline but relies on the rhythm and color of the layers to carry the painting.  There is also a chair aboveground in this painting, something that I never used in the Archaeology work, which was intentionally left devoid of human evidence outside of the underground artifacts.  The inclusion of the chair puts this piece more in the present time, the time of man.  The Archaeology series hinted more at being in the future, in a world without man.

I call this piece On the Shoulders of Time.  It is just a reminder of how we are the result of all that has come before us.  Every decision, every action, everything good and bad that preceded us, has brought each of us to this juncture in time.  Our decisions, our actions, will determine how and where that chair sits for future generations.

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