Morley Myers 1956-2018
Morley Myers was born in Saskatoon, Saskatchewan in 1956, and grew up primarily in the Medicine Hat region. A self taught sculptor, Morley has been sculpting since 1991 and has been involved in exhibits on the west coast and has displayed in galleries in New York, Vancouver, Victoria, Tofino, Salt Spring Island, Calgary, Winnipeg and Medicine Hat.
Morley’s style is a unique blend of cross-cultural primitive imagery.
Morley: “I feel the primal aspect of my work touches everyone on a basic level. Living on Salt Spring Island since 1989, I have had many opportunities to enjoy and be influenced by many of the artists that reside here.
“When creating a sculpture from a raw block of stone Myers often starts with the fault line, the unruly fracture, or some other perceived defect, not in order to make a correction, but rather to initiate a process of discovery. The chisel is guided into a series of moves and countermoves; shapes emerge and disappear and a hidden three-dimensional poetry is, in the end, revealed. Myers is like the archer who, though he knows where he is aiming his arrow, ultimately retains a certain indifference to its exact destination. The work is meticulously composed but open. If this approach sounds like the working method of a previous era – it is precisely that. Myers is one of a growing number of artists who have been struck by the disappointing results of the “new critical” artistic forms and styles. When compared to the art produced in the first part of the 20th century, it is hard not to notice that the results of postmodernism are sometimes little more than sociologically inspired one-liners with perhaps limited durability. Over the last 30 years postmodern critics have tended to emphasize the disruptions and downplay the continuities. This has lead, in certain quarters, to the belief that the art of the past is merely historical artifact, lacking in aliveness or contemporary relevance. Given the relative paucity of durable results, dealing in recoveries, re-developments and extensions is not only valid but perhaps necessary. In a conscious effort to disengage with the new orthodoxy, Myers has investigated anew pre-postmodern strategies and methods.” Kevin Steinke, artist/writer