Helen Brechlin: Alternative Narrative

The End

Recently, ALSO THAT regular Helen Brechlin made her grand return to the United States from a six week stint in Beijing, China serving as the Artist in Residence at the Inside-Out Art Museum. She was kind enough to answer some questions about her experience and share the work that she created there.

Follow Helen on Instagram here. 

Visit her website here.

Visit the museum's website here.

MT: How did you land this Artist in Residence Role in Beijing?

HB: At the end of my senior year at MassArt the chair of the Painting Department Chair had set up an amazing opportunity for the graduating seniors. All could apply by the a certain date and be considered to receive a one month residency at the Inside-Out Art Museum in Beijing, China! I quickly wrote my statement and sent along my additional images and resume. After some time I received the incredible news that I was the chosen student and I could choose a month between October and April to go on this fantastic journey.

 MT: Was the change in your surroundings reflected in your work?

HB: Absolutely! Residencies are great because they give an artist time to focus on their work without many worries beyond, “What am I going to paint today?” Part of this residency was having the city impact my work. There would be no point to being in such a unique city like Beijing if was making the same work I did back in Boston. This change manifested itself in an intense shift in my color palette. I typically used a very muted color palette, but in Beijing the color exploded. The concept of these paintings was centered on the idea of a nature in and surrounding the city reclaiming the land in a post-human world. These “Snap Shots,” as I’ve been calling them, are glimpses into this alternative narrative. Everything is slightly askew, the colors are acidic, nothing feels what we would describe as natural, which I wanted to reflect as the permanent impact of pollution in Beijing.


MT: Were there any challenges in bridging the communication barrier?

A New Beginning

HB: The short answer is yes. I was only able to pick-up on two words, hello, nĭ hăo, and thank you, xiè xiè. This made traveling beyond the confines of the museum a little difficult, but not impossible. Everyone at the museum was extremely welcoming, warm, and beyond helpful. Many of them spoke English, so I only had to worry when I went into the city. I had a very handy guide book written by the Lonely Planet (which I highly recommend!!) so I mostly stuck to restaurants and sites that were described in the book, and used the map that came with it. that map became a new fixture in my pocket. Beijing is a very safe city. I became versed in the universal sign language of the world. I could pull out my map point to landmark on it and even though we couldn’t understand each other the person I was asking for would gesture towards the general way I should be going. The biggest challenge was ordering food at restaurants not in the book. One specific time I went into a restaurant that had a large picture menu. It was the first time I had gone out completely alone in a place without an English menu and they were not used to seeing tourists. I pointed to something on the menu frazzled by the waiter standing over me waiting for me to order. When my food arrived it was a bowl
full of spicy peppers and scallions to increase the flavor with very little meat along with the
customary hot water to drink, and no rice. After a painful ten minutes, a very kind waitress came over with rice. She seemed to know that I didn’t know what I had ordered.

MT: Did you notice any cultural differences in how your work was regarded?

HB: I think the main difference was that everyone was positive? It’s hard to say. I couldn’t talk to everyone about my work, and I found most people to be polite. So, if they had something negative to say, or even constructive criticism, it was kept to themselves. This is also being compared to my previous experience inside a college studio class, where the point is to receive feedback to push further, while in Beijing I was mostly on my own.

MT: What was the biggest take-away from the entire experience? Would you do it all again somewhere else? If so, where and why?

HB: Besides thoroughly enjoying Beijing and the amazing cuisine and sites, my biggest take away was my individual growth throughout the experience. Knowing when to ask for help, and knowing that you can survive on your own in a city that you don’t speak the language or know much about in general was invaluable. I feel stronger than I was before the residency. I would absolutely go on another residency like this one. Traveling is a huge interest for me and ideally I would like to go everywhere, so this is a hard choice! My top two would be either France, a home of great painters, beautiful views and of course amazing art historical sites; or Japan, a bustling country that also has historically great painters, views and sites, plus I’ve always wanted to see the Golden Temple!


MT: Do you have any words of advice for aspiring artists?

HB: Try it all! I think I held back a little while I was in Beijing, and I wish I could change that. When I did step out of my comfort zone (which was a huge portion of the trip) it was extremely rewarding. I think this applies to even your hometown area. Try something and don’t let hesitation and fear get the best of you, it’s something we all fight with, so don’t think you’re alone.
Also, do a drawing a day.

Eric Lee Bowman: Deceive The Eye

Mick Theebs: When did you first realize you were an artist?

Eric Lee Bowman: Well, I always knew I was an artist. My parents were both artists and they were both raised by artists. So it's been a part of the family forever. My mom is a painter and my dad is a photographer. My grandfather was a photographer. My grandmother was a photographer and a model. We always had an art cart rolling around the apartment with paints and markers and paper and stuff. Making art was the main thing to do around my house. Making art is just part of the culture of my family.

MT: How do you choose the subjects of your photography?

ELB: I'm doing mostly portraiture with this camera. The medium I'm working with calls for portraiture. It just works very well with the wet-plate collodion process.

Eric goes deep on the Wet-Plate Collodion Process

MT: Where did you learn to operate this equipment?

ELB: When I was in high school my dad set me up with my first camera. He gave me a Nikon FE2 and I was shooting 35mm film on that for most of high school. My dad showed me how to use the camera, my grandfather showed me some stuff with it and that's where it all started. With my current camera, you can't really get glass plates for it and adapting it for sheet film would require a little bit of work. I wanted to shoot on glass plates, since that was what the camera was designed for. So I knew how to operate the camera, I just didn't have film to put inside. So, I took a photo-chemistry course at SVA and studied a number of different antiquarian photo processes from the mid-eighteen hundreds.

MT: What are some of the challenges in working with such unique equipment?

ELB: The camera has a number of light leaks in it so I usually cover the camera with a heavy fabric or a heavy dark cloth, just to keep the light leaks to a minimum. I do occasionally still get a light leak or two here and there. Working with the chemistry is fun and I take a lot of safety precautions: rubber gloves, apron, goggles, and proper ventilation is important too.

MT: What if the camera breaks? How do you find parts?

ELB: Luckily nothing has broken on this yet. Really, there isn't much that can break. The wood could crack if I bend it the wrong way, but I can glue it back together or I can have a carpenter fix it. The bellows can be replaced. I just have to be very careful with the lens. The lens is the prize piece of the equipment.

Eric goes into detail on 'the prize piece'

MT: What are your thoughts on nostalgia and history and its relationship to present culture?

ELB: I know for me, using this equipment connects me to my family. There's a family tradition in doing photography and painting. I see that a lot in my day to day experience. In my apartment, I have something like fifty thousand photographs from my grandfather that he shot. That's just part of what surrounds me every day. Occasionally I'll open up my file cabinet and pull out some photos and that's my connection to the history of photography- through the history of my family.

ERIC SHARES SOME FAMILY HISTORY

MT: And you're absolutely keeping the history of photography alive in a very concrete way. Is there many people that still use this process today?

ELB: Oh yeah, there is a big community of people still doing this. We're connected on Facebook and Instagram and we're all following each other. I think what I'm doing is a little different, using the trick photo processes I'm using. I haven't seen anyone doing anything that kind of thing.

MT: What words of advice do you have for aspiring artists?

ELB: It's important to get stuff made. Just keep making stuff all the time. I've realized recently that if I'm not making it, it's never going to exist. Art is for the most part a physical object. It's something that exists as something tangible. You can have all the good ideas in the world, but if you're not making it it doesn't exist. Ideas are all well and good, but artists keep making stuff.  

Legal Disclaimer: All works above are the property of Eric Lee Bowman and are not to be not to be printed, not to be used for the promotion of a specific project, not to be used for any commercial purpose, and not to be published on any other site or in any other app without the explicit written permission of Eric Lee Bowman.

Special Thanks to Will Star who took all of the photos (that weren't direct scans) of Eric Lee Bowman and his work. 

Rosemary Celon-Gordon: Out of the Ordinary

I paid the Gilded Lily Gallery a visit and had the chance to speak with the owner and resident artist Rosemary Celon-Gordon. I had a wonderful time sitting among the beautiful works in her gallery and talking about her work.

If you find yourself in southern Connecticut, I absolutely recommend dropping her shop for a visit.

Like their Facebook page here.

 

MT: HOW'D YOU GET YOUR START AS AN ARTIST?

RCG: I've always been into the arts, even as a little kid. I would always dream about being an artist. Professionally, I went to school for architecture. Then, I did shows for like 15 years after I graduated. Then I opened up here...I guess that was when I first realized I was an artist, because I started making money. I mean, before that I did, but you know, it wasn't steady. You know the term starving artist? We were all starving artists, believe me. When I was doing shows, I needed a job, so I worked a steady job for like fifteen years, then I opened the gallery and that was when I realized I was an artist.

MT: How did you make the transition for architecture to fine art?

RCG: I went to Paier [College of Art and Design] and got my degree and got a job after graduation with Ethan Allen. I didn't like it. There wasn't any creativity to it. It was basically sales. Architecture wasn't really what I wanted to go to school for. They didn't offer fashion design, which is what I really wanted to do. So I went for architectural design. But then I decided that wasn't what I wanted to do. I really wanted to draw and do fabric art and paint. My work has evolved. I started working with fabrics...I would make soft sculptures out of fabrics- almost like doll making. That was how I started doing shows. I've always liked textile designs and I think when you look at my work there's so much detail in design in it. 

Rosemary describes her style 

MT: You have a really unique style, in that, it toes the line between sculpture and painting. How did you develop that?

My work has evolved a lot.  I got my start with soft sculptures and fabrics. When we first opened the gallery I was working in polymer clay. With the clay, the designs are all done in the clay, because it's pigmented. I went back to painting with acrylics on canvas. Then I discovered glass paints and that was my ah-ha moment, when I discovered you could paint on glass and it could look like enamel. A lot of my paintings hanging in here are done on glass. And then I went from totally glass painting to some with mosaic work and now I'm doing mosaics. I also do jewelry with resins and silver and bronze. I don't get bored because I keep changing my mediums. I keep incorporating what I use in my glass painting in my jewelry. You look at my work and you can tell it's mine. There's a vein that runs through it.

MT: How did you decide to open the gallery?

I worked for a company for 16 years that closed their stores in CT and I needed something to do. I wanted to go back to my art because I kind gave it up for those years when I was working full time. I got my severance pay and I said to my husband I couldn't see myself working for someone again. I hated working for someone else and I really missed doing my art. With the severance pay and a loan, we did it. We opened the gallery. And that was fifteen years ago.

MT: You've managed to operate this gallery through one of the worst economic downturns in recent history. How? 

Determination. I have a pretty good following with my work. We're honest. We don't pressure people. When someone comes in, we let them look around and enjoy. We have things nobody else has. When you're looking for something different, unique, and special we have it. In this economy, you have to have that. You can't be run of the mill. It's gotta be something out of the ordinary. A niche thing. That's what we are.


MT: What words of advice do you have for aspiring artists?

Just keep working. Keep doing it. Pay your dues. Just work hard. You can't expect to graduate from school and just get the perfect job. You gotta work for it. And keep working for what you want. It's not easy to be an artist and make a living. Most of the people I have in here have other jobs. I myself did too for many years. If you think you're gonna be rich and famous forget about it. 

Moon Hooch: Totally There

L to R: Wenzl McGowen, James Muschler, and Mike Wilbur

L to R: Wenzl McGowen, James Muschler, and Mike Wilbur

Not long ago a band called Moon Hooch appeared on my Spotify. I had never heard anything like it before and was transfixed. The genre-busting three piece comprises of the double threat of Mike Wilbur and Wenzl McGowen on saxophones with James Muschler jamming out on drums. As luck would have it, they were playing a concert close to my house. I got the chance to sit down and talk with these mad geniuses about their work. 

MT: How did you guys get your start as musicians? 

Wenzl: We didn't really meet all at the same time. There were sort of weird interactions that slowly led to a moment where this group formed. We never had intentions to form this band. But rather, we were trying to make it based on our own beliefs and making money for food and rent and this and that. James and I met at the New School. Mike and I never really got along. We had really opposite worldviews and opposite approaches to music. And for some reason I judged him very harshly when I met him.

Mike: He was vibin' me out.

W: I was vibing him out. Because I thought he had too much uncontrolled energy and I just couldn't be around it. Like, musically. 

MT: I see, you guys were like hot and cold.

W: Yeah, but then slowly hot and cold mixed and we became warm. 

James: So the first time we played together was on the street. Wenzl and I were busking and Mike was there on his horn. And that was the first time the three of us had ever played together as a group. We were playing on the street to pay rent. We were playing without the intention of forming a band. People started asking us what we were called and one day Mike blurted out “Moon Juice” just spur of the moment. So we went by Moon Juice for a month, but there are a few other bands called Moon Juice so we change it to Moon Hooch.

MT: How did you transition from busking to playing venues?  Basically, how did you get "discovered"?

W: Usually you think you need to get "discovered". But it's not really like that. For us, it was more like climbing stairs. One conversation leads to another thing which leads to an event where you meet people which leads to another thing. We would play in the subway a lot, which exposed our music to thousands of people. And then we got an email saying “hey, we're looking for a band for this TV show.” So we became the house band for Hamish and Andy's Gap Year. And that was just because some talent buyer saw us on the subway. And then we got an email from Mike Doughty of Soul Coughing and he invited us to come on a national tour with him. So we played 25 shows back to back all over the country, which was crazy for us to go from playing on the subway to a national tour.

The second album from Moon Hooch, out September 16 via Hornblow Recordings / Palmetto Records.

MT: I've literally never heard anything like your music before. How do you guys develop songs?

M: It's different every time. Right now we're just all producing individual stuff on Ableton. Sometimes we'll improvise together. 

Mike Reveals a Unique SongWriting Technique

Mike explains a unique form of song making.

W: I think our music has been changing a lot recently. We've always had the question of how to integrate electronics. That's really been something that's been occupying us since the beginning of the band. Initially, I tried to write a program that would pick up the kick drum and translate the information into MIDI information and now we're using Ableton with a click track and we've stuck with that. This has given us an opportunity to expand exponentially in all directions to the point where we could become a different band. So now the question is how do we integrate electronics and still remain Moon Hooch? The answer is that Moon Hooch is an entity that makes music.

MT: So the majority of your songs are instrumentals, but there are a few vocal tracks mixed in. Are you guys trending in a more vocal-heavy direction?

M: Totally. I've been rapping and singing for a while now. 

MT: That was actually how I was going to follow up on that question. When I first heard your music the first thing I thought was “this would be amazing to freestyle over” and so I wanted to know if you've talked with any rappers about having them do verses over your tracks.

M: Yeah. Me. We also have a bunch of vocal songs, like six that I sing on. This set doesn't have that much rapping, but the next set we do will probably have three songs that I'll be rapping on.

The second album from Moon Hooch, out September 16 via Hornblow Recordings / Palmetto Records.

MT: The lyrics of “Mountain Song” are pretty incisive and thought provoking. Would you say that you guys try to stand for something? 

M: Totally.

J: We definitely stand for something. We don't even try to, we just do.

W: I remember when we were playing a music festival three years ago and we were backstage and we were treated so nicely. James had just come back from India and had seen all of this poverty and people starving and was really emotionally shaken by it. We have so much wealth here and we just drown ourselves in it while other countries are starving.

M: We just over-consume. This festival was so gluttonous and there was so much waste. Way more than any of these artists needed was being thrown at them.

Moon Hooch goes deep on their veganism.

W: I think it's an addiction that society has. We're addicted to goals. Because we're a goal driven species. Right now we're confusing economic growth with personal growth. So we all want more money, more power, more wealth, more status. I have really successful friends and they're worried they're not successful enough, but they can afford whatever they need. They don't ever say “Wait a minute, I'm here right now enjoying this moment.” It's just the worry in itself. And all of this obsession with material wealth ties into our veganism, this addiction with material pleasure is tied to the insanity of eating meat three times a day, which is destroying our planet.

MT: What words of advice do you have for aspiring artists?

W: Be happy with life. And from that, what you're supposed to do in life will emerge.

M: Take every experience as it comes. Don't necessarily view each experience as a good experience or a bad experience, but rather an experience in itself. Try to be in the moment in that experience. Know that you'll learn something from it even if it feels like the worst thing in the world. You'll come out on the other side better. Always. 

J: We were talking earlier, Mike and I, how one grows out of suffering. A lot of artists suffer in one way or another. Whether it be either dissatisfaction with the art their creating, or turmoil in their lives or their emotions getting in the way since, you know, artists can be emotional people. Even when you're hitting your low point, that's where you grow the most once you come out of it.

Moon Hooch talks about Balance.