The Art Of Gary Palmer - Depth And Magic

It's a rainy day in Venice, perfect for reflecting. And for writing about - and reading about - the meditative art of my friend, Gary Palmer. I first got to know Gary Palmer as a friendly Irishman who was also a regular at The French Market. Then I got to know his art. And then I wanted to know more, so after years of friendship and coffee (and one memorable champagne all day marathon) run-ins, we finally sat down to chat about his whole story and his art.

Palmer was born in Belfast in 1968, "When the troubles began." He attended a school that was a mix of Catholic and Protestant kids, which made him interested in what created peace and reconciliation. Art became a way for him to retreat into his own little world as an escape to a place where people weren't fighting. He was also fascinated by the street paintings he would see, that to him led to underground magical worlds, and saw those artists as local heroes. He kept winning art prizes throughout his school years, but didn't want to attend art school, because he didn't want to be told how to paint. So he studied theoretical physics at Edinburgh instead. And got a Masters in Architecture. No big deal.

A gig with an architect in Australia got Palmer even more into street paintings, and he began doing his own chalk art with a 3D perspective. He attended street art festivals all over the world, and following the sun led Palmer to Los Angeles. He published a book of his chalk art called A Carpet Of Dreams in the 90's, and kept attending festivals. His first studio was in Hollywood on Cahuenga, where he started doing paintings on canvas for a living, as people would walk by and want to buy the paintings off of the walls. It was his mother's dream to live in California, and soon Palmer's family joined him in L.A. He did some street painting in Venice, and "liked the vibe" here. When Bush Jr. took office, it freaked Palmer out so he took off for a six month meditation retreat in Mexico, and when he came back, Elwood Risk offered him his studio space in Venice. Palmer leaped at the chance, and was soon ensconced on Vernon in Venice, working on meditation paintings that incorporated his thoughts on gravity and physics, which "are tied to understanding nature."

Street painting adventures in Italy led to a trip to Africa from Malawi to Zanzibar, where Palmer enjoyed observing how diverse people can come together and all get along. This became a dominant theme and inspiration for Palmer, as he began to explore how different cultures interact with each other. Paintings feature such diverse subjects as Masai warriors and the Lacondon (Ancient Mayans who never cut their hair), as Palmer would travel to observe peaceful indigenous peoples living in harmony with nature. Narrative paintings with accompanying writings and abstract expressionism works make up his Memories of Zanzibar series (with a limited edition monograph "life diary" boxed set put out by Fathom Gallery).

Back in Venice, living on Flower and working on Sunset and Vernon, was a grand old time for Palmer, with music and art and parties and creative juices flowing ... until last year when he got the boot out of the artist studio building on Vernon due to massively increased rent (the sad and all too common story around Venice these days). Fortunately for Palmer, a friend was leaving Venice and offered her studio space right on the Boardwalk to him for an actually affordable (fair) price, and now he gets to work with an ocean view. Things have a way of working out sometimes.

More recently Palmer has been doing these great meditation pieces, that he says are "Saying something ABOUT nature, instead of being a picture of it. The meditation pieces reflect the breath." I dig that. "You get bored if you do the same thing all the time, you have to EXPLORE. You make a diary of your life, and even the installation is part of it." This makes sense then that after a relationship with a Japanese woman, Palmer is now doing abstract landscapes with sumi ink that you can view at the Tarryn Teresa Gallery. They remind me of the art where you blow the ink around with straws, so again you are reminded about the breath - and to take a moment to appreciate it and breathe.  During all of this creativity, Palmer is also at work on a book, On The Nature Of Nature - bringing him back to his physics roots. He's an impressive cat.

On Venice and its draw for artists, Palmer says, "There is a good tradition of art and painting, and the 'Space and Light Movement' here in Venice, with Ed Moses and Larry Bell ... people see different things here." A big sigh was exhaled while reminiscing about old Hal's and the Venice West stories. "That's part of the heart and soul of it all ... it's still here, but it's changed a lot. I'm nostalgic about it all. The next generation is all about tech, and the spirit of talking to each other at a bar is much less. But there's still a hell of a lot of positive, so I don't like to gripe." He still frequents the "pale shadow" of Hal's, because there is still the art and our people and jazz, and James Beach, the LA Louver, and The French Market remain his mainstays - and mine.

"There is a depth and a magic about the place. There are still nuggets of that here every day. An artist sent me a letter offering me her space just as I was about to move it to Inglewood! People see it differently. One person's idea of what it's about here is totally different than another's." And that's what keeps it interesting, I suppose. One very cool thing that Palmer is working on is to get an annual street art festival up and running in Venice. "Venice is crying out for a street art festival. It would be a nice way to bring the past into the present." To start out with a chalk art festival, and add the whole gamut, like tattoo artists, muralists, graffiti artists, all of them is the goal. "It's a bit more Venice to have ALL of the street art together." I'm all over it. Palmer has had a section of the Abbot Kinney Festival each year dedicated to a community mandala chalk art piece, and it's always one of the highlights of the day. They've been denied that space (?!?!) for the next one, as the want it for more commercial space. Blah.

Palmer mentioned that Hinano's approached him about maybe making it happen down on the Washington Square, and I can't think of anything more awesome, with all the chalk art and murals and everything extending all the way down to the end of the Venice Pier, with everyone working together on a big mandala in the circle part of it above the ocean waves below. And the Geobender can make sand ones alongside it!

I say that because the very day I interviewed Palmer, I walked down the beach afterword, and saw the sand mandala by Geobender there in the sand - more meditative art, and  another beautiful example of the depth and magic of the place! Kismet. Let's help get that festival going, but also continue to search for those special qualities of this place as an every day reality.

Like Gary Palmer does.

The Venice Artblock - Excellent and Free!

The very first Venice Artblock was held on Sunday, and it was fantastic. And FREE! After many of our local artists were denied participation in the official Venice Art Walk this past Spring, they took it upon themselves to create - in a very Venice-spirited way, a little anarchist, take the power back style - their own event, free and open to the public, without any lines, wrist bands, or corporate headquarters ... just art, art and more art! In these times, that's both highly commendable, and historical.

It was done just as legit (if not more) as the Art Walk, with a great map, balloons and signs to signify where the stops were, and even a shuttle to get you around if you forgot your bike (always the best way to cover the most ground at these type of events). It was very spread out, from the beach to almost Lincoln, and from Venice Blvd. to Rose. The area around Vernon and Sunset was kind of the hub, with the most concentrated number of studios to hit.

It's so great to go around, and get to see inside the studios of artists that you may just know socially, or have heard of, and then get to peek inside their work space and understand how they operate. What a treat to have them share so much of not just their art, but themselves.

It was a party atmosphere at the studio of William Attaway, with Argentinian barbeque being grilled up, and music thumping. Attaway has a new series of paintings going that feel very bright and tropical, and it's always fun to see his sculptural works in progress.



Alberto Bevacqua's photographs are always haunting and provocative, and stood in stark contrast to the wooden circus animals of Pamela Weir-Quiton down the street. There is certainly something for everyone to admire in Venice.

Gary Palmer had his studio open and shared some stories about his recent excursion to participate in a big sidewalk chalk drawing event in Atlantic City. If you saw his Abbot Kinney in chalk at the Street Fair, you know Palmer is a master of this craft. His oil paintings are collected all over the world, and it's cool to see where it all begins. Very cool.

I always love to see what they have going on at the Curio Studio, one of my favorites in town.  

361 Vernon, where Palmer's studio is, also had a whole slew of studios open, from video installations to ceramics and everything in between. There is so much going on all the time, that you don't have any idea about, which may explain why so many people feel that Venice truly IS a creative vortex.

With SO much going on, it was difficult to hit all the points on the map, especially when you get held up chatting and catching up with other art lovers enjoying such a remarkable day. I stopped by to see what performance artist  and awesome lady Amy Kaps had going on, and she showed off her works while performing hostess duties all decked out in black, white and hot pink. She is a Venice treasure, for sure.

Across the street on Electric, Rohitash Rao was showing his paintings done mostly on garbage. Faces and phrases painted on empty coffee cups or other flotsam, all comic with an edge. Good stuff, good hang too.

I got a late start so it was already almost 5 (closing time) when I got over to SPARC. The talented and erudite Kay Brown showed some of us how her gorgeous wood block printing, and how the printing process is done. Her floral print reminded me of Attaway's flowers at the first stop. Full Circle.

SPARC always has wonderful things to look at, and the murals surrounded by the old bars of the town jail that the building once was lend even more power to the images you're seeing. SPARC is a hallowed institution and if you live in or care about Venice, it really warrants your time to explore and know about.

Every person I ran into along the way raved about how excellent this event was, and how wonderful that it was free and open to absolutely anyone, not just those who can cough up the steep admission price of the official Art Walk. It somehow felt more REAL too ... like art for art's sake, not necessarily profit, though work was being sold, and perhaps as importantly, being seen, learned and known about. The community was out in force, great conversations were being had, and every artist I encountered was beaming with the success of the day ... and the FUN!

Artblock was in fact SO cool, that I have to imagine they're already plotting the next one. And you should be there. It's the REAL deal. Thank you to all the artists involved, for inviting us all into your creative spaces, and for being there in the first place. Venice needs you!!! Sincerely, Thanks.