Ode to Art

It’s omnipresent and irrelevant

Subjective and objective

Timeless and fleeting

Limitless and ceasing

Appalling and superb

Poignant and indifferent


Timeless Beauty

Leonardo’s Mona Lisa

Kaholo’s Self Portrait

Vermeer’s Girl with a Pearl Earring


Pricey beyond their time

Modigliani’s Nu Couché

Picasso’s Women of Algiers

Basquiat’s Untitled


Shocking in their time

Velazquez’ Rokeby Venus

Caravaggio’s Sick Bacchus

Manet’s Le Déjeuner sur l’herbe


Deeply moving in any time

Picasso’s Guernica

Michelangelo’s Pietà

Bosch’s The Garden of Earthly Delights


Ahead of their time

Vincent van Gogh

El Greco

Paul Gauguin


Favored in their Time

Yayoi Kusama

Roy Lichtenstein

Salvador Dalí


Perceived as taking no time

Pollack’s One Number 31

Kelly’s Blue/Red-Orange

Francis’ Speck


I see you everywhere

You move me deeply

Or not at all

It can depend on my mood

Or on the day of the week

But without you

I never want to be



C. Greg Gummersall

C. Gregory Gummersall began his professional art career more than thirty five years 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.

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.