Feeds:
Posts
Comments

Posts Tagged ‘West End Gallery’

GC Myers -AswirlI started writing a diatribe this morning about the dangerous world in which we live, given the recent events in the Ukraine and Israel.  But I realized there is more than enough talking (well, not really talking in substantive terms but mouths opening and words of some sort coming out) going on from politicos and pundits and little action actually taking place.  If you’re reading this, you’re probably fatigued by the whole thing and looking for something to calm you or at least divert your mind from the chaos of the outside world.  I know that is a great part of the motivation behind doing what I do, going inward to find a place of peace where I can take shelter.

So, today is a bit of both.  It’s a little anomaly of a piece that I am including in my upcoming West End Gallery show, Layers, which opens on July 25th.  It’s a small painting, about 5″ by 7″ on paper, that I call Aswirl.  It’s inward but it acknowledges the swirling nature of events in the outer world.  It is chaotic but finds a harmony in rhythm and color.

This is a piece that I have had in my studio for years and have wanted to show but just never got around to doing so.  But I like including at least a couple of small anomalies or oddities in my shows and as I assembled this group of work, this piece began to start popping up.  It always seemed to be in sight and though it is much different than almost anything in the show, it still feels like it fits.

Maybe that’s just me.

But I do know that it takes me away from the tensions of the events in the outer world and settles me as I find pattern and motion in the swirls of colors.  And if that is its only purpose, or my only purpose in what I do, then that is enough for the moment.

Read Full Post »

GC Myers- The Empowering smWhat we achieve inwardly will change outer reality.

-Plutarch

**********

I am in the very last day of preparations before delivering my show to the West End Gallery for next Friday’s opening of my show, Layers.  It’s a day that mixes the tense anticipation of how the work will be received at the show with the relief of finishing all the tasks required to make it happen.

Fear and elation from moment to moment.

This is just an accepted part of the process by now.  But it’s all too easy to let the fear part of this little dance grow, to imagine worst-case scenarios where the show is an abysmal flop and the work fails to move a single person on any level.  I can only imagine that  anyone who creates or performs has these fears.  The trick is to not succumb to them, not let them drown out what you know to be true in your work.

That’s where the elation part of the process comes in.  When I am framing and prepping, the work is arranged in stacks so that I can’t see much of it as I go through the process.  I am engrossed in doing these tasks and put the work itself out of my mind as I proceed.  But as I go along, I get to each individual piece, turning it over to reveal an image that had escaped my mind.  It’s exciting, like seeing it for the first time, and I find myself appreciating aspects of the painting that I had overlooked or not even noticed when it was consuming me in its creation.  It’s a moment that wipes away the fears and reinforces my own belief in the work.

That’s what happened yesterday with this piece, an 18″ by 18″ canvas painting that I call The Empowering.  It had slipped from my sight and memory and upon turning it, it just seemed to glow among the other work.  It really bolstered me and had me setting up pieces in my framing space so that I could see it alongside the other paintings in the show.  The fears were washed away and I was left with a great sense of internal satisfaction that this group was already a success, regardless of my fears.

Here’s hoping that Plutarch’s words hold true and this inner belief becomes an outward reality.

Read Full Post »

To have his path made clear for him is the aspiration of every human being in our beclouded and tempestuous existence.
–Joseph Conrad
****************
GC Myers- Glimpse and Aspiration sm
In the next week or so I will be featuring several of the new pieces that will be part of my show, Layers, which opens next Friday, July 25th,  at the West End Gallery.  This painting is titled Glimpse and Aspiration and is 24″ by 48″ on birch panel.  It has been a favorite from the moment that it began to take on its own life, midway through the time I was painting it.  Its size gives it a weightiness that fits well with the mood and  glow of the painting.  I find myself looking at it quite often in the studio with a great deal of internal satisfaction at the completeness of it.  It just does something for me.
.
I see the Red Tree here as a symbol of the aspiration for  a life of purpose and meaning, the desire for one’s own place in the world.  It is not always a clearly defined objective, as Conrad points out in the quote at the top.  Our life’s path winds through other places and lives but once in a great while there is clarity and we fleetingly see that thing which we believe to be our purpose.  Our aspiration.  Just glimpsing it and having it take a tangible form in our mind is fortifying, making our footsteps lighter and our path even more defined.
.
It is something  which we can hold in our minds to guide and inspire us on the path ahead.
.
There’s something in this idea  that fills this piece,  making it a very comforting piece for myself.  I am going to very much  miss this painting in my studio when it has went out on its own.  But it has done what it must for me and is destined to hopefully do the same for someone else.
.
Sending it out into the world is simply part of my purpose, my aspiration.  At least that is how it appeared to me in my brief glimpse.

Read Full Post »

GC Myers- Layers

I am in the final days of preparations for my annual solo show at the West End Gallery in Corning which opens next Friday, July 25th.  It’s really coming together in all areas and I think it will hang together very, very well.  I’m very much looking forward to seeing it in the gallery.

The title for the show comes from the painting shown here, Layers, a 24″ by 36″ canvas.  I was originally going to call the show Strata after a group of paintings from that series that will be in this show but after looking closer at the work in this show I realized that there were layers of all sorts in my work, not only in the underground portion of the Strata pieces.

I described this a bit more in a statement for the show:

I chose the title for this year’s West End Gallery show, Layers, after a re-examination of my work where I tried to determine what themes might have appeared in it, often without thought or guidance from me, through the years. The thing that struck me was how often the paintings were about layers.

Layers in the literal sense, as in the Archaeology and Strata series where the actual underground layers’ patterns become integral rhythmic parts of the painting.

Layers of depth into the picture plane, represented often by a path passing through layers of rolling landscape. Usually to a distant horizon and a sun/moon beyond.

Layers of texture, often chaotic, in the surface of the paintings which add depth and meaning, catching and darkening colors in the depths and lightening them at the highest points.

Layers of color as in the skies of much of my work that require dozens and dozens of layers of color, to the point that only a tiny bit of most of the layers show through. But without each layer, even those that barely show, the painting would lack its fullness.

Layers of meaning. Most of these works have an easy accessibility and a simplicity that can be understood and enjoyed with a casual observation but beyond that there is a layer, even layers, of emotion that are often only revealed by a deeper examination, allowing the color, the forms and the textures to fully fill in the blanks.

Perhaps these layers represent those layers in our world, our emotional and spiritual spheres that, while unseen, move us forward in our lives.

I don’t know the why’s or the what’s of them. I only know that for me these layers add something to the work that I never could have imagined.

Read Full Post »

GC Myers- Confessor Blue smYet another Sunday morning finds me in the studio working.  My show, Traveler,  at the Principle Gallery ends this week and my next show, Layers at the West End Gallery, opens in a few weeks on July 25th so there hasn’t been much of a break.  But that’s okay, I like the busyness and purposefulness of it.  It forces me to keep my head down and concentrate.  To forge ahead instead of being distracted by shiny things, something to which I , like many others, am prone.

Not that distraction is a bad thing.  You find interesting things when you allow your eyes and mind to wander and that, too, eventually finds its way into your work.  But that is for another time when there is a deadline involved.

So, its back to work.

But it is Sunday and I have made a habit of having some music on this day’s posts.  This week I am featuring one of my favorites, Neko Case, who I have featured many times over the years.  This is Night Still Comes from her most recent CD, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You– which is quite a mouthful.  I chose the painting above to go along with it.  Its title is  Confessor Blue and its one of the remaining paintings at the Principle Gallery show.

Enjoy and have a great Sunday…

Read Full Post »

GC Myers- Moonlight RevelationThe revelation of thought takes men out of servitude into freedom.
.
-Ralph Waldo Emerson
.
*************

When I look at this  new painting, a 24″ by 24″ canvas, it gives me a sense of conscious dreaming, of  taking those deepest  and largest internal wishes and making them known to the world, bringing them into the realm of possibility.  I think there’s something potent in the idea of this sort of imagining, of seeing oneself in different circumstances, in different lights.  It sets courses and opens windows of possibility.  It unsettles us and stirs change.
.
It also makes me wonder how this sort of dreaming changes over the course of our lives,  I know as a child I was always immersed in daydreams that took me to far-reaching places under the wildest of circumstances.  Yet while I still daydream, as an adult my dreams have changed and become far more limited and smaller in scope, much less expansive than they were in my youth.  Perhaps it is a product of pure practicality, of having realized my own limitations and what is possible for the person I believe myself to be.  Or maybe my desires have have lessened by virtue of  simple acceptance and comfort in the present.
.
When do we lose the capacity for the large dreams of childhood?  Is it when the world loses some of that sense of wonder that came with the fresh eyes of youth?  Is it possible to imagine unlimited possibilities when the sight of a bright and full moon rising fails to inspire you?
.
Maybe that’s what I see here, a recapturing of that wonder in seeing the moon and all that is possible under its gaze.
.
******************
This painting, Moonlight Revelation, will be at the West End Gallery as part of my solo show there, Layers, which opens July 25.

Read Full Post »

GC Myers-Tree Waltz smIt’s the last Sunday of June and I sit in my studio early this morning surrounded by new work in varied states of completion that is headed to the West End Gallery for my show there at the end of July.  There are paintings on easels and on chairs, some propped against the walls, on ledges above the fireplace as well as leaning against the hearth– everywhere I turn they’re facing me.

I take a moment and just sit back and take them all in, just letting them meld together as a collective group.  For a moment, there’s a disconcerting feeling like looking at mirror that is shattered but still in place, a hundred different angles of myself staring back at me.  But there is a quick adjustment, like my eyes coming into focus, and they’re no longer images of myself.  Oh, I’m in there and I am part of what they are but they are more like a group of friends surrounding me, each with their own life but still maintaining a close relationship with me.  I know them well, know their secrets, know what they mean to me.  And they know me, hold my secrets and share a past with me.

In that moment, there’s a feeling like I am in a room full of friends and it is warmly reassuring.  I’m not sure I can do justice with my description here.   It makes me think of a favorite song of mine, Feeling Good Again, from Robert Earl Keen.  Whenever I hear this song I am reminded of  time in my youth spent with my father.

On many Saturdays we ended up at the horse track and before heading out would stop at a beer joint in town.  It would only be about 9 or 10 in the morning but the place would be busy with  some guys drinking their morning coffee and some their first of many beers.  When we walked in, there would be shouted greetings from around the bar.  Everyone knew each other and there was a terrific sense of friendship and camaraderie in their banter.  Looking back, I can  see how that place was a safe haven for a lot of tough lives and how those friendships, though maybe not deep, were reassuring, something on which to hang.  Feeling good again.

So when I hear this song, I am transformed again to that thirteen year old kid drinking a coke while my old man joked around with his buddies and looked over the Racing Form with his cup of coffee.  Have a great Sunday.

 

Read Full Post »

Doubt is not a pleasant condition but certainty is an absurd one.

–Voltaire

************

GC Myers- Twilight WandererMuch of my work has a journey or a quest as its central theme and the odd thing is that I don’t have a solid idea of what the object is that I am seeking in this work.  I have thought it was many things over the years, things like wisdom and knowledge and inner peace and so on.  But it comes down to a more fundamental level or at least I think so this morning.  It may change by this afternoon.  I think the search is for an end to doubt or at least coming to an acceptance of my own lack of answers for the questions  that have often hung over us all.

I would say the search is for certainty but as Voltaire points out above, certainty is an absurd condition.  That has been my view for some time as well.  Whenever I feel certainty coming on in me in anything I am filled with an overriding  anxiety.  I do not trust certainty.  I look at it as fool’s gold and when I see someone speak of anything with absolute certainty–particularly politicians and televangelists– I react with a certain degree of mistrust, probably because I see this absolutism leading to an extremism that has been the basis for many of the worst misdeeds throughout history.  Wars and holocausts, slavery and genocide, they all arose from some the beliefs held by one party in absolute certainty.

So maybe the real quest is for a time and place where uncertainty is the order of the day, where certainty is vanquished.  A place where no person can say with any authority that they are above anyone else, that anyone else can be subjugated to their certainty.

To say that we might be better off in a time with no certainty sounds absurd but perhaps to live in a time of certainty is even more so.

*******************

The painting at the top is called, fittingly, Seeking Uncertainty, and is a new 10″ by 20 painting on canvas that will be part of my upcoming solo show, Layers,  at the West End Gallery in Corning which opens July 25.

Read Full Post »

“The opposite of love is not hate, it’s indifference. The opposite of art is not ugliness, it’s indifference. The opposite of faith is not heresy, it’s indifference. And the opposite of life is not death, it’s indifference.”

-Elie Wiesel

*************

GC Myers Memory of  Night sm

I’ve been sitting here for quite some time now, staring at the quote above from Elie Wiesel.  I had planned on writing about how my work evolved as a response to the indifference of others but now, looking at those words and putting them into the context of  Wiesel’s experience, I feel a bit foolish.  Wiesel, who had survived the Holocaust, was eyewitness to indifference on a grand scale, from those who were complicit or those who did not raise their voices in protest even though they knew what was happening to the personal indifference shown by his Nazi guards, as they turned a blind eye to the suffering and inhumanity directly before them on a daily basis, treating them as though they were nothing at all.

The indifference of which he speaks is that which looks past you without  any regard for your humanity. Or your existence, for that matter.  It is this failure to engage, this failure to allow our empathy to take hold and guide us,  that grants permission for the great suffering that takes place throughout our world.

So you can see where writing about showing a picture as a symbolic battle against indifference might seem a bit trivial.  It certainly does to me.  But I do see in it a microcosm of the wider implications.  We all want our humanity, our existence, recognized and for me this was a small way of  raising my voice to be heard.

When I first started showing my work I was coming off of a period where I was at my lowest point for quite some time.  I felt absolutely voiceless and barely visible in the world, dispossessed in many ways.  In art I found a way to finally express an inner voice, my real humanity,  that others could see and react to.  So when my first opportunity to display my work came, at the West End Gallery in 1995, I went to the show with great trepidation.  For some, it was just a show of  some nice paintings by some nice folks.  For me, it was a test of my existence.

It was interesting as I stood off to the side, watching as people walked about the space.  It was elating when someone stopped and looked at my small pieces.  But that  feeling of momentary glee was overwhelmed by the indifference shown by those who walked by with hardly a glance.  That crushed me.  I would have rather they had stopped and spit at the wall than merely walk by dismissively.  That, at least, would have made me feel heard.

Don’t get me wrong here– some people who are not moved by a painting walking by it without a glance are not Nazis.  I held no ill will toward them, even at that moment.  I knew that I was the one who had placed so much importance on this moment, not them.  They had no idea that they were playing part to an existential  crisis.  Now, I am even a bit grateful for their indifference that night because it made me vow that I would paint bolder, that I would make my voice be heard.  Without that indifference I might have settled and not continued forward on my path.

But in this case, I knew that it was up to me to overcome their indifference.

Again, please excuse my use of Mr. Wiesel’s quote here.  We all want to be heard, to be recognized on the basic levels for our own existence, our own individual selves. But too often, we all show indifference that takes that away from others, including those that we love.  We all need to listen and hear, to look and see, to express our empathy with those we encounter.  Maybe in these small ways the greater effects of indifference of which Elie Wiesel spoke can be somehow avoided.

It’s a hope.

The painting at the top is a new piece that I call Memory of Night, inspired by Wiesel’s book, Night.

Read Full Post »

GC Myers- Eternal GazeThis past week on the blog, I’ve been putting up images from a group of work that is part of the Little Gems show that opens tomorrow at the West End Gallery.  I was going to show yet another snow painting in honor of our recent wintry weather- it’s hovering around zero on the thermometer and everything is covered with a white layer of snow here.  But this painting struck me this morning.  Maybe it was the warmth of the sky.

It’s called The Eternal Gaze and is about 4″ by 6″ on paper.  The large bird who seems to be overseeing the whole scene and the atmospheric glow give this an otherworldly feel.  Large birds, especially crows and ravens, have always had an otherworldly quality for me, their watchful intelligence always coming across as some sort of deeper and timeless wisdom.  As though they are and have been witnesses to our time in this world.

The contrast between the light of the sky and the darkness of the bony tree and the bird creates a nice tension within the picture but it’s the simple silhouette of the bird that changes the whole feeling and focus of it.  Without the gazing black bird this piece felt much different.  Again, the bird carries a certain cache in its symbolism.

Actually, since the snow piece I was going to show had several birds in a tree in a more wintry setting and also alluded to their watchfulness, why not show it as well?  This is Winter Watchers and is a mere 2.5″ by 3″  on paper.  Both are currently at the West End Gallery.

GC Myers- Winter Watchers

Read Full Post »

« Newer Posts - Older Posts »