We caught up with the brilliant and insightful Gregg Emery a few weeks ago and have shared our conversation below.

Gregg, looking forward to hearing all of your stories today. Can you talk to us about a project that’s meant a lot to you?

Most recently, I was commissioned to paint my largest painting to date for the Aston Martin Residences in Miami. This partnership has been incredible and seeing the finished work in the iconic space in Miami was truly momentous. I was inspired by the idea of time dilation and how different people, in diverse situations and environments experience time in extremely different ways.

Simultaneously, I had purchased and was fixing up an old church in my hometown to use as a studio and future art center including classes and artist residency. The painting commision from Aston Martin literally helped put a new roof on this humble building from 1868 along the Canadian border in upstate New York. I named this new endeavor, ‘Full Circle’ and am excited to see it take shape.

These two projects were hugely impactful on me and have already had rippling affects in my own work and of course the community in my hometown as we move closer to building a source of art and artmaking unlike anything ever seen in the area. Standing in Miami in front of the 2 meter by 3 meter original painting and knowing the journey it took to get to this moment had me shaking, tearful and joyous.

Gregg, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

Immersed in the weave of New York City’s wildly intermingling human fabric, and rooted in a barefoot youth tilling soil & gathering wood along the border of Canada & the Akwesasne Mohawk Territory as well as spending time with my Quaker grandparents. I remain inspired and in awe of the magnificent & mundane in my everyday life, my process is constantly disrupting itself; through the use of ripping, water pouring and collaboration my work is at once meditative and spontaneous, interrupting my own technique, thought process, and control.

Redirection is further invited via co-creation- a powerful statement that exploration finds depth in community. With my paintings I attempt to evoke the complexity & simplicity of effortful humanity- a theme that is reflected in my daily practice of guerrilla portrait sketching; deliberate, vulnerable, startling, patient, humble; a true capture of the beauty of and in others. Much like the halo found in such natural phenomena as the caldera or celestial occurrences, throughout the unknowable & chaotic, in my work I constantly nurture a deep love of repetition, sincerity, and familiarity, acknowledging every transformation that has brought us here.

At the root of all this is my belief that we are looking for authentic connections with one another, and deeper connections with our place and the world around and within us. Art can serve as a bridge or portal, a mirror or a conduit to something better.

Recent exhibits include a solo show in Gowanus Brooklyn, a group show with the Young Soy gallery of Hong Kong and I painted the facade of the creative hub of the lower east side, LAAMS. My work is part of private and public collections around the world including the permanent collection of White & Case, Aston Martin, American Copper Building, Jack Daniels and the Baltimore Museum of Art.

Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light?

I think we, as a culture, have done a disservice with the romantic notions of the artist as a solo individual in a studio or the belief that we are either born creative or not. I have always drawn and made art but I also played music, drums, and was an athlete and have also taught and coached for many years too.

I teach and approach art like an athlete or musician. Warming up, practicing your scales, repetitive training is something that I embrace in my artistic practice and it is something that any of you can do as well. I have seen with my own eyes students of all ages who had very little ability and, more importantly, lacked creative self-confidence. However, with attention to practice and determination they experienced exponential growth in their artistic practice.

Practice, putting in the work, embracing mistakes and learning how to live and artistic life are all things that I think my ‘muggle’ friend (for lack of a better word) struggle to understand. But I also know that understanding can be theirs by committing a little time each day to a creative task…that will make the journey not only possible but a reality.

Are there any resources you wish you knew about earlier in your creative journey?

I wish I knew about artist residencies earlier. There are some amazing places around the world that offer space for artists to connect, create and collaborate. Often they will pay travel, food, lodging and even offer a stipend. It has been a way for my art to allow me to see and experience the world in such a beautiful way. It has also helped me forge artistic friendships and partnerships that I know will last a lifetime.

The second thing is the idea or practice of collecting art. Starting early and starting with visiting a community fair or open studio or even open studio at a local college. I bought and traded a few pieces early on but wish I would have trusted myself and spent those dollars (that I didn’t have) to buy pieces by artists that caught my eye and imagination. It can be a wonderful lifetime of surrounding yourself with art that inspires and brings you joy but can also lead to building a nest egg for the future. It also is so vitally important for young artists to be supported and simply to buy real art from living artists.

Contact Info:

• Website: https://www.greggemery.com
• Instagram: @greggvemery
• Facebook: GreggEmery
• Linkedin: Gregg Emery
• Twitter: @GreggEmery

Image Credits

Udo Spreitzenbarth