G. C. Myers’ solo exhibition New Days feels a little like a retrospective, but one comprised entirely of new work. Longtime followers of Gary’s work will find many of the signature elements he’s become known for during various periods of his career– among others, the Red Chair, the Red Roofs, and of course his solitary Red Tree– gracing these compositions as well, and in a way that not only reminds us of where he’s been, but invites consideration of where he may be going next as well.
One of the things I’ve always found intriguing about Gary’s work is that although he routinely employs bold, hot colors in his compositions, most of the places depicted somehow retain a sense of calm, of quiet. In this show, Gary’s included a small group of monochromatic images, and predictably, theirs is an even deeper quiet. These have a kind of timelessness about them, as though we view them across a remove of years.
Gary is one of the few artists I’ve known who seem able to maintain a delicate kind of balance: That of continuing to create for his collectors and galleries the kinds of work he’s become most widely known, admired and respected for, while also continuing to evolve as an artist. Not easy, that. If New Days showcases much of the evocative imagery and iconography we’ve come to think of as uniquely Gary’s, it also demonstrates that he’s still only at the beginning of all he’ll become as an artist, and all he’ll share with us.