Some writings about the art of C. Gregory Gummersall:

“Gregory Gummersall’s pictures, paintings, collages and object assemblages form an entire unity with tensions, but still a homogeneous harmony…..Obviously, C. Gregory Gummersall exactly meets the nerve of time with his acrylic and oil paintings…His works reconcile in a convincing way the two main contradictory tendencies of our century – of abstraction and of representation.”

excerpt from: REALITY IS NO ART Dr. Reinhold Misselbeck 1995 Former Curator, Museum Ludwig, Koln, Germany – View full writing here: Reality Is No Art

“Within the postmodern maelstrom, the arts are made up of individuals who hold the aesthetic values and grammar, which, however mutated, make up their unique individuality. C Gregory Gummersall is one such individual.” excerpt from C. Gregory Gummersall – Soul Abstractionist

By Dave Tourje, President, Chouinard Foundation May 2003 – Read Full Article Here: Greg Gummersall-Soul Abstractionist

“The new collage pieces define a wide range of imagery, yet there is a continuity that is sustained….The work has an air of dignity meshed with a pure sense of color and orchestrated form.”

Dennis Yares, Santa Fe Gallery Director/Writer

“I have said Gummersall evokes a sense of play. But this is serious play, play of substance and meaning, play that explores the external and ephemeral in the painter’s game of life.”

Betty Ann Brown. California Art Professor/Curator.

“Gummersall…formulates from the vast, innovative California scene a distinctive style unto himself. He creates his own personal ‘artistic style through the dynamics of his abstract compositions and the use of personal  color.”

Das Kunstmagazin Professor Peter Iden Former Museum Frankfurt Director/writer

“C. Gregory Gummersall’s acrylic/collage on canvas is a study in dripping shapes.  The color achieved using acrylic is unmistakable of the medium – pure color plastination – richly and boldly applied.  The shapes are aggressive, playful, even phallic with their unapologetic drips flowing out of them, completing their form.  In some of his works, the forms peek out from layers of applied paint and collage, others are circles and other infinite shapes combined with the written word and aspects that betray the source of his collage/mixed media materials.”

-Excerpt from Art Scene 6/20/06

“Gummersall’s paintings pulse with bold primary colors that echo the work of the New York School abstract expressionists Jasper Johns, Robert Rauschenburg , and Willem de Kooning. Beyond color, he draws on iconography and philosophies of both Western and Eastern traditions.”

-Emily Sachar, NYC Writer 8-2006


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.

“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.”


Shibui, shibumi, or shibusa are Japanese words which refer to a particular aesthetic of simple, subtle, and unobtrusive beauty. Like other Japanese aesthetic terms, such as iki and wabi-sabi, shibui can apply to a wide variety of subjects, not just art or fashion.


Embraced as a pleasure – in authentic expression, natural materials, rough edges, imperfect glazes, even deliberate flaws.

It stands in particularly marked contrast to the characteristics of modernism, with its mass produced uniformity and its seemingly indestructible materials like plastic, stainless steel, silicon and the rest.

Greg’s Life As An Artist….

“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).”