Charles Greeley


During my third year at The New York School of Visual Arts, in 1962, I saw the Symbolist Exhibition at MOMA with Redon, Moreau, and Bresden. This experience provided the inspiration to paint imaginary landscapes. Arriving in San Francisco in 1967 at a time when a visionary movement in the local art scene was just getting started, I became involved with this group of artists and we called ourselves the San Francisco Visionaries. Our interests included alternative realities, the spiritualization of nature, the fantastic, the dream, psychedelics, and the study of eastern religions. Linear thought gave way to a new vision governed by the principals of tapestry, mosaic, and collage. Inside and outside space became the same. Utopian vision became a way of celebrating life. In 1972, my wife, fellow artist Bunny Tobias and I moved to Santa Fe and founded our studios on a mountain ranch near the Pecos Wilderness where we have lived a contemplative life close to nature in a rural setting where it is easy to explore the vast space of landscape. I’ve continued in my pantheist genre by creating visionary landscapes and collage with silkscreened Japanese Mullberry papers cut into miniscule shapes that when seen together form a luminous whole.