One of the first truly sunny days since being in Santa Fe, the group arrives at Ernesto Mayans Gallery. Ernesto greets us as door, jubilantly, and we enter the gallery. With much laughter, Ernesto makes a genuine attempt at learning all of our names, and immediately I feel welcome. The gallery is small but cozy, extending from the small room we entered one room to the right, a hallway to the left, and another small room beyond that. The ceiling is low, reminding me of the characteristic 'human scale' of classic adobe structures. With warm laughter and friendly conversation as a backdrop, I wander into the room on my right. Monica is delighted to find a sculpture; a twisted branch made to look like a strange and warped giant pencil. I notice one oil painting on the wall, a landscape of New Mexico, by Joel Greene. I study it for a moment before moving on, watch the warm colors of the hills flow together, appreciate the sweeping clouds. I wander on through the gallery, in the hallway now, and stop at these impressive screenprints. Ernesto and Jakob are engaged in an interesting discussion of philosophy, but Ernesto comes over to share a little about the screen printed pieces. He casually discloses his insights, dropping some facts about the artist, who I see is world-renowned for their talents, intermixed with Ernesto's own thoughts about the beauty of the pieces. I follow the hallway into the back of the gallery and find a few more interesting works before the group gathers with Ernesto in the front room off the hallway. We're here after all to get a look a some of Joel Greene's artwork, and talk to with Ernesto about, among other things, Joel Greene. The second part of our day is visiting Joel Greene at his studio. Ernesto has this whole room full of pieces by Joel, and a portfolio of some of his early work and sketches. It's a good day, Ernesto and his gallery are great, and it seems like everyone is excited and seems genuinely interested. It can't hurt that laid out on the table with some of Joel's cards was a bottle of sparkling cider for us. As we sip on cider and look around, I observe that Joel's work is a mixture of flowing tones and geometric landscapes. On one wall there is a collection of paintings depicting thunderstorms, other paintings are of rock faces, vast skies, boulder fields, desert vistas, and pine trees, but there is definitely something cohesive about his style. His images seem simple, his color palette, indicative of the natural landscape, doesn't overwhelm you. Even still they're impactful, coming together in impressive representations of the New Mexican landscape. His paintings grasp the vastness of the sky here, and simple power of the elements. Ernesto ensures us we're in for a treat, meeting Joel. He tells us, unlike many artists, he's very laid back, and has a good sense of humor which we should enjoy. As we begin to file out, almost done with our gallery visit, I follow the deep red of the wooden floorboards. The painted floor is the only thing tying all the rooms together, worn in little paths from room to room, from so many people's footsteps. In one last little story, Ernesto tells me the story of the floor color. When he started the studio only one room had a red floor, painted over years of other colors, but red was the most apparent. He decided to paint them all to match, so all the wear we see is is just from the beginning of his gallery to now. I was so surprised that all of that wear, giving so much character to the little gallery, could have happened in such a relatively brief history from people just like us walking back and forth appreciating the artistic vision of others.
After a short drive out of town, we arrive at Joel Greene's studio. There's an old truck parked in the driveway of a very nice looking building. I would have called it a house, but I knew it was the studio. We walk in and right away the good nature and boyishness Ernesto described seems apparent. Joel is smiling, and welcomes us to his studio. We enter into the print shop and it isn't very long before Joel is explaining the some aspect of how a small press works. The second large room, with large sliding glass doors looking out to a beautiful view, is the painting room. His whole studio is very open, helped by tall ceilings and neatness. He has a couch, and chairs, a bookshelf full of movies and books, a little TV, and of course his two easels and a drawing table. Everything looks like it has a place, and we settle in. Everyone asks questions, about his technique, how long it takes him to finish a painting, his experiences in New Mexico, he answers all of them thoughtfully and usually with a chuckle. Some of his paintings decorate the walls of his studio, and someone, Connor I think, asked a question about the development of his style. A few of the paintings seems to have softer rolling look, while others are morethe great light out here, which we had heard about, and clear air that makes the landscape all that more appealing to paint. I won't try to quote, but in explaining his color palette, Joel pointed out that the desert can tend to blend into a mess of tans and beiges if you're not looking for the colors, but they're there. It was so wonderful to visit with his, he was light hearted and modest, very welcoming, and kind. He so readily answered our questions, whether they were practical and about his process or some object or tool in his studio, or about his thoughts, ideas, and inspirations.
Meeting with Ernesto and Joel proved to be a great day in my book, they both had interesting stories and were wonderfully welcoming. Their willingness to share their experiences and work allowed me a moment to take away, a true 'expereince' to reflect on and tie together in the future, rather than just a visit.
-Laura McCaughey
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