Well the GPS numbers in the chapter don't land you on Route 66, but rather on Hwy 68, not too far from the Carson National Forest, north of Santa Fe, New Mexico. And why do we care about this? Because this is where you find artist Johnnie Meier.
This is part of my look at the book by Lynne Perrella, "Art Making & Studio Spaces," which I began not too long ago.
Open page 166 and you see a wonderful view inside a veritable museum of roadside Americana: a huge Phillips 66 sign edged in neon; rows of branded motor oil cans; a vintage Underwood typewriter sitting on a glasstop counter and much more.
From the beginning of the chapter: "...it's hard to grasp the full significanca of Johnnie Meier's self-described Classical Gas Museum. Located on a snaking scenic road leading to Taos, New Mexico, this expansive, captivating compound reveals itself gradually and includes a museum of restored roadside treasures, an indoor/outdoor work space...replete with flowering fruit trees...." What a great word picture.
Seems Johnnie is a master renewer: "...'Stuff comes into my workshop distressed, broken, discarded, and unappreciated,' he says. 'When the completed stuff leaves the workshop, it is renewed, recovered, and ready to once again be appreciated.'..."
I found another writer/blogger, Dada, who featured Johnnie and his work and even did this video:
Must be cool to have an artist studio that flows from inside to the outside. In the book Lynne says of his studio space, "...I was given a tour of one of the most fascinating, specialized and personal work spaces ever...." Although Johnnie says he sees his "studio is a recycling center, recycling industrial and commercial art." He also says it needs to be bigger!
Pages 168-169 show wonderful old gasoline pumps, rusted oil cans and an enviously organized pegboard of tools. Turn the page and you see images of the indoor/outdoor character of this workspace. Johnnie says of his studio:
- "I never really regarded my workshop as a "studio" although I felt as if the restorations were restorations of works of art and sculpture. For example, I regard the art deco-inspired gas pumps of the 1930s as pieces of sculpture. To have my workplace showcased with other artists [in Lynne's book] is validating the fact that restoring works of art, albeit commercial art, contributes to the culture."
I totally agree with that. My husband has been, and remains, an avid collector of Star Wars ships and figures. Some people may see these collectibles as toys but they can also be seen as sculpture; and, as artistic sculpture, they, too, contribute to the culture.
Where my studio has supplies for my work that include glues, ceramic tiles, photo papers, pads of Bristol Board, brushes, scissors, pens and pencils and the like, Johnnie Meier's supplies run to "...a sandblasting cabinet, an HVLP paint system, and an exhaustive inventory of hardware items...a wall of old post office boxes provides convenient compartments for filing, and old coffee cans are hard to beat...." Me? I use paper Dixie [brand] paper cups - the tiny ones.
I think every artist would relate to this comment that is highlighted in the chapter: "...One builds a relationship and a sense of comfort having a future project around...."
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