I was born in Salt Lake City, Utah, in 1944. I graduated from East High School in 1962. I attended the University of Utah.
I began painting early in my life. I experienced some success in my young adult years. I had one-man shows at Utah’s Pioneer Memorial Theatre and at the Cottonwood Mall in 1963-64, when I was 19 and 20. I then moved to Reno, NV. where my work was exhibited and was purchased by the then-Nevada Art Gallery. In my early twenties one of my paintings was chosen for exhibition in London.
Although I kept painting, I put aside the professional pursuit of art to raise my growing family, working full time as a pipe-fitter and later in my career as a mechanical designer. At age 60, I retired, and have now returned to the full-time pursuit of my art.
In 2006 I became a member of the artists’ co-operative Art At The Main (Main Library in Salt Lake City) where my work is exhibited continuously. In 2005 I became a member of Utah Artists. I am also a member of Artists of Utah and the Intermountain Society of Artists. My works have be exhibited in London, Portugal, New York City, New York and in several Galleries in Salt lake City, Utah.
My abstract art has been exhibited nationwide and in Europe to critical acclaim. A review of work exhibited at Agora Gallery in New York states:
“In the abstract images of American artist, Cary Griffiths, visions of color and movement converge to create unexpected configurations of line and form.
Music has a profound influence on the way Griffiths approaches his art. He paints to the sound of music playing, enabling him to capture the rhythm, melody, and lyricism we normally associate with music within the form, color, and content of his work. What results are images that are associated with movement and emotions, an imagery of pure emotive expression.
Upon first glance, his abstract images seem simple, yet there is a complexity inherent in the manner in which everything comes together, creating an extraordinary synchronicity that speaks of a depth of meaning and purpose in each of his works.
In the end, Griffiths strives to create an art that is meant for everyone, to which anyone can connect regardless of background or intent. For him, the representational aspect of painting is less important than his interpretation of the reality of the emotive force the thing contains.”
In the melody of modern abstract art, the viewer may see and hear emotional content: pathos, joy, fury, forgiveness, betrayal, love. My vision is to create the peace that comes from finding that relationship with abstract painting which is borne of recognition, catharsis, and finally, solace.