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Posts Tagged ‘West End Gallery’

GC Myers-Memory Way smEvery man’s memory is his private literature.

-Aldous Huxley

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As I have stated in the past here, the Red Chair, an icon that often appears in my work, is a symbol to me of people and places and experiences from the past.  In short, my memory.  In this new piece, Memory Way, that is most certainly the case.  This little painting, 2″ by 5″ on paper, is another of my pieces from the Little Gems exhibit which opens Friday at the West End Gallery.

The road here represents to me the continuum of time.  The landscape is almost idyllic, perhaps representing my tendency to block out the worst parts of memory.  At least, to downplay them and keep them in the background and to put what good there was there in the best possible light.  I like to revisit the past occasionally and I have to make it a place where I am comfortable.  A past filled with nothing but dark and fear-filled memories is no place to venture on a regular basis.

Anyway, this little piece makes me happy and fills my mind with a feeling of good memories.  As Huxley said  above, our memory is our own private literature, filled with the memories of our lives and the lives of our ancestors.  I sometimes edit, embellish and redact my life’s literature, all to make it an interesting read for myself.

That’s what I see in this little guy.

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GC Myers-Serenata Blue This is another of the pieces that are in the upcoming Little Gems exhibit at the West End Gallery in Corning.  This little guy is titled Serenata Blue and is a just a bit larger that 2″ by 4″ on paper.  It’s a continuation of the recent snow paintings as well as another of my solitary guitarist pieces, of which I do a handful each year.

There’s something very appealing to me in the solitary guitarist standing amidst open space as he cradles his guitar.  It usually brings me a wistful, somewhat sad feeling.  Not in a bad way sad.  Just a slight existential melancholy.  You know, the good kind.

I thought that there should be some appropriate musical accompaniment to this painting so I came up with a sad song.  And I mean sad.  This Nancy Griffith’s version of Tecumseh Valley.  It’s an achingly  beautiful and sad  lament that tells the story of a poor mountain girl.  To make this version even sadder, this is from a tribute show from the friends of the song’s writer, the great Townes Van Vandt, right after he passed away in 1997.  But it is a haunting and lovely song so don’t be afraid to listen.

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GC Myers- Steps to Solitude smMaybe I decided to use this image  because it was -8° when I headed out for my stroll through the woods to the studio.  Well, not really a stroll.  More like a hard determined march, trying to cut through the sharp cold as quickly as possible.  But as I glimpsed at the still dark sky,  Venus  was shining brightly just above the treeline, so much so that it caused me stop and just wonder at its brilliance.  To my eye it had a reddish glint that made it seem  like some exotic little gem in the sky.  Beautiful enough to stop me in my frozen tracks.

This brought to mind the upcoming  Little Gems show at the West End Gallery in Corning that opens next Friday,  February 7th.   I am currently prepping a group of paintings for this exhibit of small work which is always one of my favorite shows of my painting year and one that always brings back good memories.  As I have noted here in the past, the Little Gems show in 1995 was the first opportunity I had to show my work in public.

A first step on a then unknown path.

This will be my twentieth Little Gems show, something which would have seemed unfathomable back at that first show.  I don’t paint as many small pieces in recent years, spending more time on larger work, so this is always a great time to revisit the small form.  There is something  wonderful in seeing the colors and forms compressed into a smaller space, something that brings out the gem-like quality in each.  Each element, each mark takes on greater weight in the smaller form.  There’s a different type of concentration, one that is  quicker in its self-editing and one that is definitely more intuitive.  The sizes are such that everything just happens quicker and there is less time to ponder.

And that is often a good thing.   I’ve often said that I’m not smart enough to paint when I have to think about it.   Maybe these small pieces are  proof  of this.

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This piece is called Steps to Solitude and is a compact 3″ by 6″ painting on paper.  It will be at the West End by the end of this week along with several other small pieces.

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GC Myers  Sea Call My annual show at the West End Gallery in Corning ended yesterday which leads to the question: What’s next on the horizon?

Well, for starters, next Saturday, September 7, I will be at the Principle Gallery in Alexandria, VA for my annual Gallery Talk there. It’s normally a pretty good time with some laughs and, hopefully, some real information passed along.  If you’ve never been to one, don’t expect a lot of technical mumbo jumbo that might scare you away.  Oh, be assured, I will answer any question about technique  but I try to focus more on the stories behind the work.  Motivations, meaning and emotional content.  And maybe a story or two.

Plus, as in the past few years, there will be a free drawing for one of my original paintings.  I try to make the work that I give away special and this year’s piece is one of my favorite orphans.  It has meaning for me and hopefully will as well for whoever takes it home.  So, if you’re in the Old Town area next Saturday afternoon, stop in at the Principle and maybe win a painting.  I If you don’t win, I’ll try to at least make the time seem  well spent.  Hope you can make it.

After that, my focus will turn to my final show of 2013, which will open November 23  ( my early morning mistake– it is actually the 16th!) at the Kada Gallery in Erie, PA.   I’ve been showing at the Kada since 1996 and  owners Kathy and Joe DeAngelo have always done a great job for my work and my shows there, so I always  do my best to provide some very special work.  This year’s show is titled Alchemy and I promise that there will have some interesting work to support that title.

I will, of course, provide more details in the upcoming months.

For the moment, that is what in store for the next few months.  Got to get to work!

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GC Myers- Islander SheetFriday, August 30,  marks the last day that my current show, Islander,  at the West End Gallery will be hanging.  Thank you to everyone who was able to make it to the gallery during the run of the show, who made it yet another successful show for the West End.  It has been both an honor and a pleasure for me to have an annual show at the gallery and it is always satisfying when a show does well, especially in your home area.  It provides great inspiration in moving forward and serves as a validation for the decisions made concerning the work over the years.

Though many of the pieces from the original group of work for this show are gone, there is still a good show hanging on the gallery walls.  I hope you will make it in this week for one last viewing.

Have a great week!

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GC Myers-The Sky Doesn't Pity 1995smI was looking around my studio, taking in some of the work hanging on the walls throughout the house.  There are pieces from other artists, including some notables such as David Levine and Ogden Pleissner, but most of it is older work of my own.  There are a few orphans, paintings that showed extensively but never found a home.  In some I see flaws that probably kept someone from taking it home but most just didn’t find that right person with which to connect.  Most of the other hanging work is work that I won’t part with, work that somehow has deeper meaning for me.  Work that just stays close.

One of these paintings is the one shown here, The Sky Doesn’t Pity, a smallish watercolor that’s a little over 4″ square.  It was painted in 1995 after I had started publicly showing my work for the first time at the West End Gallery in Corning, NY, not too far from my home.  The gallery has been what I consider my home gallery for 18 years now, hosting an annual solo show of my work for the last eleven years.  This year’s show, Islander, ends next Friday.

But when this piece was done I was still new there, still trying to find a voice and a style that I could call my own.  I had sold a few paintings and had received a lot of encouragement from showing the work at the gallery but was still not sure that this would lead anywhere.  I entered this painting in a regional competition at the Gmeiner Art Center in Wellsboro , a lovely rural village in northern Pennsylvania with beautiful Victorian homes and gas lamps running down Main Street.

It was the first competition I had ever entered and, having no expectations, was amazed when I was notified that this piece had taken one of the top prizes.  I believe it was a third but that didn’t matter to me.  Just the fact that the judges had seen something in it, had recognized the life in it, meant so much to me.  It gave me a tremendous sense of validation and confidence in moving ahead.  Just a fantastic boost that opened new avenues of possibility in my mind.

I still get that same sense even when I look at this little piece today, a feeling that would never let me get rid of this little guy.  I can’t tell you how many times I have glimpsed over at this painting and smiled a bit, knowing what it had given me all those years ago.

 

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GC Myers-Step Forward  By striving to do the impossible, man has always achieved what is possible. Those who have cautiously done no more than they believed possible have never taken a single step forward.

–Mikhail Bakunin

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There has been a lot of talk over the last few days about the new form of transportation proposed recently by entrepreneur-inventor Elon Musk, the man behind PayPal, Tesla Motors and SpaceX.  His idea is to have people shooting all over the country in a larger ( and more sophisticated) version of the vacuum tube system that you might see at your local bank’s drive-through, where the transaction is placed in a receptacle by the driver of the car and , once placed in the tube,  it is whisked with a whoosh to a waiting teller in the building.  Musk’s claims that you could shoot from San Francisco to LA in about 30 minutes, reaching speeds of around 700 mph in the tube.

It’s not a mind-bending idea in itself.  I mean, haven’t you wondered about the possibility as you sit waiting at the bank’s drive-through?  I know I have.  No, it’s not the idea but the sheer scope of such a project that raises eyebrows.  We look for any reason to not move ahead with big and bold innovative projects now.  The idea of pursuing the seemingly impossible, that trait that defined our last century, has for the most part disappeared from our psyche.

All you hear is how this project cannot succeed. And maybe the naysayers are right.  But at least there is a tap in this idea into the creative mind, the wellspring that allows us to dream bigger, something we seem to be backing away from.   But our world faces big challenges that require big ideas and big dreams.  Maybe this is not the ultimate answer to one of our challenges but kudos to Elon Musk for daring to dream big.

The painting at the top is in this same vein.  I see this piece as being about being bold and daring to step forward, away from the accepted normal.  Titled Step Forward, it is a 36″ by 24″ canvas that is part of my ongoing West End Gallery show, Islander, that hangs for a few more weeks there.  I’ve had a surprising number of comments about this painting over the course of the show.  Hopefully,  that is a good sign for us all…

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GC Myers- The Eternal Gift At last week’s Gallery Talk at the West End Gallery, there was a question about the painting shown here, The Eternal Gift.  The questioner  wanted about the two different colors for the foliage in the trees, especially since I seldom use green in my central trees.  I explained that this how I chose to translate the story of Baucis and Philemon from Greek mythology, one of my favorite stories.  I gave a quick synopsis of the story explaining that I first used this imagery of two different trees entwining and growing together  to illustrate this tale a few years ago a when I was commissioned to do so by a couple celebrating their anniversary.

I thought I would take this opportunity to relate the story again here, as I wrote about it back in 2010:

I often get requests for commissioned work but usually am not excited by the prospect of being dictated to in the creation of my work, actually turning down many that get too specific in their requirements. I want my paintings to reflect my thought process and emotion as well as my craft. As a result, I have an informal set of rules that let me have free rein in the creation of the work so that the painting is allowed to form in an organic way. Not forced, which often takes away the vitality of many pieces, in my opinion. 

But this particular request is unlike many others that I receive. They want this piece to relate the story of the classic myth of Baucis and Philemon, which is the tale of a poor but happy couple who are unknowingly visited by Zeus and Hermes disguised as dusty travelers. Beggars, really. The two gods had went door to door among their neighbors seeking hospitality and were rebuffed in every attempt, often with harsh words. Zeus became angry as door after door was slammed in his face. Finally, they came to the door of the shack of Baucis and Philemon, the poorest looking home they had yet approached. 

Upon knocking, they were greeted warmly by an elderly couple who welcomed them in to their simple but cleanhome and treated them with what little they had in the way of food and drink. They were gracious and hospitable, seeking to give comfort to the strangers. As the night wore on, the couple, who had been serving their simple wine to the travelers from a pitcher, noticed that the pitcher stayed full even after many pours. They began to suspect that these were not mere beggars but were, in fact, gods. 

They apologized to the gods for not having much to put before them then offered to catch their prized goose, which was really a pet, and cook it for them. The old couple chased the goose around the shack until finally the frightened creature found sanctuary on the laps of the gods. Stroking the now safe goose, Zeus then informed them of their identities and, after complimenting on their hospitality and of the mean-spiritedness of their neighbors, told them to follow them. They climbed upon a rise and Zeus told them to look back. Where once their town had stood was nothing but water, from a deluge that had washed away everything, including all who had insulted Zeus. From where their poor home had been, a majestic golden-roofed temple with sparkling marble pillars rose from the receding waters. 

Zeus told the couple that this was their new home and asked what wish he could grant them. They asked that they be made priests, guardians of this temple and that they should always remain together until the ends of their lives. Seeing their obvious love for each other, Zeus readily agreed. The couple lived for many more years together, reaching a prodigious age. One day they stood together and all the past moments from their life and love together flooded over them. Baucis saw leaves and limbs sprouting from Philemon and realized that the same thing was happening to her. On the plain outside the temple, they transformed into two trees, an oak and a linden, that grew from the same trunk, their limbs intertwined, eternally together. 

That’s a simple re-telling of the tale but I think you can see why this couple might want a symbol of this story to mark their time together…

[The painting shown here, The Eternal Gift, is part of my current show and is available at the West End Gallery.  It is a 10″ by 18″ image on paper.]

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GC Myers- The Prodigal SightI OD’d yesterday.

No, not on drugs.

Talk.  Straight, pure, unadulterated talking.

I gave my Gallery Talk yesterday at the West End Gallery to a group  people who just let me keep going on and on, sometimes egging me on with questions and comments that opened up new veins of info.  Enablers, that’s what they were.  By the time I was home, I was physically wiped out from all of the talking.   Seriously.

But, all kidding aside, I think it was worth it.  The talk went very well thanks to a wonderful group of folks who chose to spend an hour or two with me at the gallery.  They were attentive and inquisitive, asking questions that allowed us to cover a lot of material.  If it was a successful talk, it was all due to their good graces.  I send out a hearty thank you to everyone who attended.  You certainly made my task easier and for that I am truly appreciative.

We also had a drawing and awarded the painting above, The Prodigal Sight, to Steve M. from Corning, someone who I have known through the gallery for many years but did not yet have a painting of mine.  This was a painting that had only shown once a few years back and had remained with me in the studio since, along with a mere handful of pieces from each year that had returned to stay with me, their qualities yet to be discovered and enjoyed by someone willing to take them in.

Orphans, of a sort.

I commented that these pieces that stay around for a bit become so familiar and fond to me, more so sometimes than the more wildly successful pieces that quickly leave the studio and galleries never to be seen again.  I noticed that the frame on this piece had a slightly darkened edge where I had picked it up in the same spot many times over the past few years.  Seeing this made me realize how often I do gaze at these few pieces in the studio that haven’t yet found homes, wondering why the things I see in them haven’t become obvious to others.  I imagine that is how a parent sometimes feels about their child, seeing their better qualities above their flaws.

Anyway,I am glad that this piece has found a home, one in which I am sure it will be highly regarded.

Again, thank you to everyone who came to the West End Gallery yesterday.  I truly enjoyed my binge but now I am off to rehab in the quiet of my studio.  It’s a strictly”no talk” zone today.

 

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GC Myers- Dawn Serenade smIn the aftermath of this latest show at the West End Gallery, I have been taking a small break from painting, instead trying to get some things done around my home and studio that have been put off while I was working.  I have a real knack for putting off things that need to be done and there is a real backlog now of small projects waiting to be faced.  Nothing big and nothing too testing, just normal maintenance things like cleaning up fallen trees around the property and the such.

I thought, while I was finishing up the show work, that puttering around with this maintenance work would be a relaxing break but I forget how ingrained my painting routine has become in me.  Instead of relaxing, I find myself gathering anxiety about not having a brush in my hand, not working towards something.   I don’t know how to feel about this and find myself conflicted.

In one moment, I view this inability to find relaxation beyond my work as a flaw, a symptom of a shallow or hollow nature.  But in the next moment I am thankful for having found the ultimate soother in my work, to spend the greater part of my time doing that thing that gives me peace and brings me a sense of deep relaxation.  Not to mention the meaning and joy  it brings.  I guess it comes down to me working to relax where most folks must leave work behind to feel at ease.  This inversion of the norm is obviously the conflict, one that I am still struggling to reconcile even after fifteen years of doing this on a full-time basis.  Maybe I will have it straightened out in my head in fifteen more.

Okay, enough of that.  Here’s a little music, from around 1990, by one of my favorites, John Prine, singing his Speed of the Sound of Loneliness with Nanci Griffith.

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