Résumé

The large canvases painted by Gummersall are filled with gestural brushstrokes that may suggest symbols or signs, often capturing the feel of quickly-drawn graffiti. But this sense of immediacy is contrasted by the artist’s practice of building on his elements: he erases nothing, layers, his paint, and allows the history of his marks to remain visible. The sense of play evoked in each Gummersall painting is one of substance and meaning. With Solo exhibitions dating as far back as 1978, from Colorado to Chicago, California to New York, Austria, Germany, New Mexico, Oklahoma and Arizona, C. Gregory Gummersall has certainly made his mark on the art world.

C. Gregory Gummersall began his professional art career more than four decades ago primarily as a West Coast artist. In the 90s Gummersall returned to an 80 acre ranch near Durango, Colorado, which suits his needs for lots of quiet space in which to create art. In 2001 we moved to Prescott Arizona.

Influenced by artists such as John Corbett, Robert Rauschenberg, Jasper Johns, Cy Twombly, and Richard Diebenkorn….. Gummersall’s paintings have an energetically gestural, spontaneous quality. His brushstrokes suggest symbols or signs whose meanings can be sensed but never fully grasped. They are reminiscent of adrenaline-filled quickly drawn graffiti. But unlike the temporary existence of most graffiti, Greg’s brushstrokes and use of collage build upon each other to create a sense of memory in the canvases; nothing is erased, and through the layers of paint, the history of his marks remain visible.

“The advance mystery of making aesthetic sense by working with the puzzled balancing’s, coherent compositions, complimentary colors, and surfaced layers into rhythmic shared things of beauty is the reward. My secondary application of ‘ground’ over ‘figure’ illustrates my unusual interest in balancing the spontaneity of ‘chaos’ with the need for ‘order’. It also utilizes the free form of expressionist seemingly random marks with the more minimal ordering via painting out the excess chaos that then forms a new ground. Rhythmic lines, as architectural elements, add to the gestalt.”

As an artist, with never ending creative challenges, he gets easily bored with repetition. In the Art Business, where repetition sells, Greg had concerns that the range of his different series styles might be viewed as “immature” or unfocused. His friend (and former museums director), Mr.Gerald Nordland, informed him of how greats like Picasso and Matisse also worked in many different style series changes. Coming from such a respected Arts Scholar, the advice was reassuring. His cycling back through the various series over the past 35+ years results in change, interest, and the needed growth of added variety.

“My primary objective is to add beauty and expanded awareness to the viewers of my art. Contrary to much of the Art World’s “Shock Art”, I hope that my art communicates on a higher plane and provides a sort of refuge in a troubled world.”

Gummersall’s art is in numerous private, corporate and public collections including the Fordham University Museum at Lincoln Center, Federal Reserve Bank Chicago, Palm Springs Art Museum, Deutsche Bank, Toyota, Tucson Museum of Art, ANA Sheraton Hotel in Osaka, Pacific Bank, BMW, Four Seasons, and many others. Greg was honored to be included in the 183rd National Academy Invitational Exhibition Of Contemporary American Art in New York.

“In my Art I strive for the principles of Wabi-Sabi in embracing “authentic expression” purposeful “imperfections” in opposition of Modernism’s “mass-produced uniformity.”

“I’d been working on ranches in S.W. Colorado and painting when I had time and in 1979 I had my first exhibit at Ft. Lewis College in Colorado. In the 80s I began painting full time and moved to California to exhibit in L.A., the S.F. Bay Area, and Palm Springs. In 1987 the famed Elaine Horwich gave me a solo exhibit at her short lived Palm Springs gallery and she continued placing my Art via her Scottsdale, Sedona and Santa Fe galleries. Elaine and her large team continued placing my Art until she passed in 1991. The current Tucson Art Museum Senior Curator (now Dr. Sasse) Julie Sasse* was my kind contact at Elaine’s and she remains a friend. Her book on Elaine has been well received. (A woman under the influence (of art): Remembering Elaine Horwitch …)

The L.A. days being and being involved in the “Scene”

(e.g. being on the ART/LA Board and West coast Board of the New Art Examiner) added much “Art Scene” experience. After nearly 40 years I’d given-up some on the Fast and Flashy Contemporary Art Business and that prompted our family to move away to an 80 acre small ranch near Durango Colorado. Some 20 years ago *Julie Sasse commented that I was “committing career suicide” by locating in such a rural area. We have recently begun to spend winters mostly in Arizona and we’ve reactivated representation in the area. Over the years it has been an honor having been invited to the 182nd New York Academy Invitational, having my Art placed in many fine Corporate and Private collections, and having been represented by quality fine art galleries (we’ve learned that for it to be a successful gallery/artist relationship the gallery staff needs to really love our Art).

And, I’m especially proud of raising three successful very talented sons (Actor, Producer, Singer-Songwriter).”