There are defining moments in an artist’s career that set into motion a floodgate of ideas that transports them into a completely different artistic direction; like the moment when Jackson Pollock came upon his drip technique or Andy Warhol realized his jam was transforming simple objects like soup cans and daisies into technicolor icons.
For local artist Bryan Valenzuela, having just completed a major art commission at the newly minted Golden 1 Center, this could very well be his defining moment. Valenzuela’s creativity easily transitions between painterly and orchestral movements—yes, this is the same Valenzuela who fronts, composes music and tours with the musical outfit Exquisite Corps—and he isn’t afraid to keep exploring new outlets for his artistic energies.
“I do a lot of thinking, and walking my dog—it’s really helpful to take a long walk,” Valenzuela says of his artistic process. “Once you sit down to start working, you do a million drawings to figure out what is in your head. I do a lot of planning and then when [I] actually start working on it, fate takes over. You can’t plan for everything. There’s a lot of accidents, so you just have to go with the flow; like the Louis Pasteur thing, chance favors the prepared mind.”
Multitudes Converge | 22′ X 36′ X 55′ | Glass, Stainless Steel, Silicon | 2016 || Photo by Joan Cusick
Valenzuela’s current work is a complete departure from much of the work that has come out of his studio in the last decade. The aerial sculpture inspired by the confluence of the Sacramento and American rivers, aptly titled Multitudes Converge, is comprised of 400 glass spheres in varying dimensions that span from 12 to 20 inches and weighs about 8,000 pounds, yet appears to float effortlessly in an almost meditative state from the ceiling in one of the arena’s main thoroughfares.
“I came up with the idea to use glass, having never used glass before,” he admits. “It was like, ‘They’re going to give you X amount of money to do whatever the fuck you want, what would you do?’ And so being in the space, and thinking about the light that’s coming through that window, and trying to highlight the architecture using translucency, glass seemed like the perfect material.”
To bring his vision to life, Valenzuela jetted off to Europe and collaborated with some of the preeminent authorities in the world of glass. Through a hook up from Franz Mayer of Munich, a family-owned company that’s been producing glass for art and architectural projects since 1847, Valenzuela joined forces with Jilek 1905, s.r.o., one of the oldest glass-blowing enterprises in the Czech Republic, to create the hundreds of orbs required to form his floating river in the sky.
Bryan Valenzuela visits Franz Mayer of Munich on April 18, 2016, to discuss fabrication of his glass sculpture || Photo by Joan Cusick | Sacramento Metropolitan Arts Commission
“The Czech Republic is very well known internationally for their blown glass,” he explains. “We went through this company that’s even more of a family affair; within this one factory they put five people on my project, [including] the dad, the son, who is the lead glass blower, then a cousin and a niece. I got along really well with these guys, we drank a lot of beer and did a lot of artwork and samples together, and we were able to narrow down the possibilities based on my vision.”
The confluence of the Sacramento and American rivers is one of those natural-occurring phenomena that’s both awe-inspiring and confounding. At the point where the two waterways converge into one, they inexplicably manage to retain their singular beauty. The event is derived from the very characteristics that make them so distinct: debris, each waterway’s unique marine life and even the very chemical differences between the two bodies of water produce a vivid array of color and motion.
For Valenzuela, transforming this concept into an artistic framework was both challenging and rewarding—the idea was refined and shaped over several weeks before it coalesced into the bubbling river of greens, blues and violets currently hovering over the eager concertgoers and fervent sports fans swarming through the concourse of the Golden 1 Center.
“We live in such a fast-paced world and things are going by so quickly the internet has made it so that information is bombarding you at all times,” Valenzuela admits. “I don’t know if it’s at the forefront of my mind or more subconscious, but to be able to create something that is reflective, that is meditative, or that takes a moment—a lot of the work I do two-dimensionally has a lot of different layers and it demands that you spend time with it, it asks you to spend time either deciphering it or uncovering or discovering, and so I think it’s good to slow down like that. It seems like the world just keeps speeding up.”
Bryan Valenzuela || Photos by Joan Cusick | Sacramento Metropolitan Arts Commission
Valenzuela is no stranger to the power that public art can have on transforming space and those who interact within that space—in 2014 his artistic vision was tapped by the Sacramento Metropolitan Arts Commission to be a part of a public art project, along with 20 other artists, to complete a series of designs to transmute the dull, gray utility boxes that reside on the corners littered throughout downtown into works of art.
Valenzuela’s designs for two boxes titled Meta Mirror I and Meta Mirror II, greet waves of commuters, tourists and passersby who stroll by the corners of 8th and O streets and 7th Street and Capitol Avenue and depict everyday people sitting or standing around staring intently at their phones, plugged into the stream of information through their devices yet disengaged from their surroundings—connected yet detached.
Bryan Valenzuela | Meta Mirror I | 72″ x 113.5″ | Ink, Acrylic, Digital Media originally on paper and transferred as a vinyl wrap installation | 2014
“The art world is a very esoteric world, it’s not super inviting to a lot of people,” he admits. “In the gallery world, some people don’t feel welcomed in those spaces, but in a public space, people can stumble upon artwork and kind of be surprised by something. Rather than you seeking it out, it seeks you out. In a public space, you’re trying to create a conversation or beautify the city, and I like that idea, that people stumble upon something they would not normally seek out.”
Valenzuela’s first foray into sculpture has also allowed him to share the stage with some of the art world’s heavyweights—Jeff Koons’ 18-foot Piglet sculpture from his Coloring Book series and local art legend Gale Hart’s blown-up, deconstructed dart board were also selected to adorn the new arena’s public spaces.
Along with the tremendous opportunity to express his artistic sensibility at the new arena, Valenzuela has also amassed a series of prestigious awards that have afforded him other pretty legit moments in defining his place as a local creator—winning the Leff-Davis Fund for Visual Artists in 2014, and nabbing the Best of Show award at the 2015 California State Fair Fine Art Exhibition for his piece Bittersweet Sanctuary, to name a few.
But with all the commissions, awards and opportunities pouring in, Valenzuela isn’t just kicking back and soaking up the accolades. With a new project in the works for another piece to live in the corridors of City Hall, Valenzuela is focused on building on his current creative momentum and exploring new ways to connect with his audience. The artist even hinted at hooking back up with his musical cohorts in the spring and throwing in an upcoming show for that other audience of his. Spoiler alert: there’s already a new Exquisite Corps album waiting in the wings, ready to be mixed and released.
A Bittersweet Sanctuary | 60″ X 48″ | Ink, Acrylic, Thread, Gel Transfer on Canvas | 2014
“It’s been a really great year, so far,” he confides. “There’s obviously been challenges, it’s been difficult in certain areas but it’s been really fun, and stressful and exciting, and intense. I’m just looking to continue it and keep riding the wave.”
In addition to his piece at the Golden 1 Center, you can check out Bryan Valenzuela’s work at Beatnik Studios (alongside Rora Blue and Brian Shea) in an exhibit called Form-Lore, on display until Nov. 17, 2016. Go to Beatnik-studios.com for more info. You may also attend Valenzuela’s talk at the Crocker Art Museum, “Surrender to the Process,” on Nov. 16 at 1:15 p.m. This lecture is part of the Kingsley Art Club Lecture Series. Go to Crockerartmuseum.org to learn more.
On A Bed Of Chaos I’ve Milked These Dreams | 40″ X 26″
Ink, Acrylic, Watercolor, Gel Transfer on Arches Watercolor Paper | 2016
One of the most unique and highly anticipated group art shows of the year is about to grace the walls of the WAL Public Market Gallery in downtown Sacramento’s bustling R Street Corridor. In the exhibit If You Do Me, I’ll Do You, 22 local artists are invited to create portraits of each other using a wide range of mediums after picking names out of a hat and getting to know each other a bit. Just some of the artists involved are (in no particular order): Sarah Marie Hawkins, Shaun Burner, Melinda Arendt, Waylon Horner, Gioia Fonda, Jesse Vasquez, Melissa Uroff Millner, Nathan Cordero, Bryan Valenzuela and others. The concept of the If You Do Me show can be traced all the way back to 2003 when Mike Rafter, Olivia Coelho and Tim Tinker conceived the idea for a Fool’s Foundation show. Bows and Arrows also hosted one back in 2009, and then WAL revived it in 2015, so that makes this year’s just the fourth time it has ever happened. There is an opening reception for the exhibit this Friday, Aug. 5, 2016 from 6–8 p.m. It’s free and all ages are invited to come out and enjoy the local creations amongst the group of artists. The exhibit will be up for two full months, all the way through Oct. 5, so you’ve got plenty of time to stop in and check out the work and peruse all of the other local businesses that make up Sacramento’s coolest indoor marketplace. Learn more at Walpublicmarket.com or Facebook.com/WALPublicMarket.
Exquisite Corps Release Their Sophomore Album, Vignettes
Exquisite Corps’ debut, self-titled album hits like an orchestral tidal wave, then sweeps you up with an unconquerable undertow. I had no idea who they were when I stumbled into a show they played last summer at the now-defunct Luigi’s Fungarden, but by the time the show ended, I was happily overtaken by cello and violin crescendos swirling above the swelling pulse of melodic and melodramatic rock.
So when I heard that they had ditched the strings on their sophomore album, Vignettes, I shook my fists at the sky and deplored, “WHY?!” as their symphonic rock quality set them apart in our local live music scene. Then I took a listen and quit tripping.
A major departure from their first record, Vignettes has a stripped-down, pounding and sometimes psychedelic pure rock ‘n’ roll sound that is more than welcome to invade my eardrums anytime. It’s more laidback, and could make a great driving or party time soundtrack—whereas Exquisite Corps was intense, passionate and dark. The impressive versatility of Exquisite Corps, coupled with their synchronous, enveloping live performances, makes this band one of my favorites out of Sacramento.
I met up with Bryan Valenzuela (vocals/guitar) and Robby Dean (drums/vocals) of Exquisite Corps to talk about their new album and their plans for its release show—taking place at the Witch Room on Saturday, Sept. 20, 2014.
For those readers out there that don’t already know, can you give us a brief history of the band?
Bryan Valenzuela: We’ve all been in other bands for years, but this band started out as a duo, with a cello and just me singing. We quickly went from that to a quartet with a rotating cast. Then we went from that to a full-blown sextet with a cellist and violinist. And then, sort of pared that down, and are falling back into the rock ‘n’ roll life.
I’ve seen you play live before and loved the string element. It was rad having a cellist and violinist. So why did you forego the strings on the new record?
BV: So when we put that record out, almost two years ago now, right after that we started touring a lot; and like, you know, you start touring, and certain people aren’t able to go on the road for long, and people start being able to come and do certain shows but not be able to go for a longer stint, so I think it was just a pragmatic thing. At that point, we started maneuvering the songs we had and writing new songs based on the lineup that we could take on the road.
Robby Dean: It kind of just evolved.
So are the string sounds on the new record now achieved via the organist?
BV: Kind of, a lot of that full sound that you can get from a string section comes from the organ.
RD: We still bring the string players to some of the big shows.
BV: We’re doing a show for our record release at the Witch Room on Sept. 20, so we’ll have the full strings for that show. But writing a new record, you want to actually represent what you can take to L.A., San Francisco…
RD: Yeah, this record is more of what we’ve been doing as a four piece. Our band goes anywhere from a trio up to a sextet. This new album was more of a collaborative process. On the first record, Bryan wrote the songs and the other parts including the strings were written around that, but this record we wrote the songs together collaboratively more.
BV: Since we started being more of a rock ‘n’ roll band rather than this very orchestrated band, it sort of evolved into everyone contributing to arranging the songs. It started from this more rhythmic, more raw sound. We tried to focus a lot on the drums and capture that rawness, rather than a refined thing.
It has this psychedelic, rock sound to it for sure. You’ve also gone with a different recording studio—it was Scott McChane on the first record, and the new one was Ira Skinner, so is there a specific quality in Ira’s work that helped capture the new sound you were going for?
BV: It sounds more of like, a live thing. There were only a couple takes on vocals, for example. We went to Ira basically because of how he makes drums sound really good. He’s a drummer, and a great drummer sound engineer.
RD: The album still sounds tight because we’ve already been playing these songs for a year on the road, so we just went in there and laid it down.
BV: I think that’s just kind of where our tastes evolved to after playing out of town a lot and not having the strings all the time…
RD: Yeah, you kind of start carving out how you’re going to approach things. We’re really inspired by people like Beck and Badly Drawn Boy where every album is different and you never know what’s going to come up.
BV: The awesome element of Beck is that he’s able to be pretty eclectic—he’s not pigeonholed.
RD: We’re always going to be a rock band, with elements of rock ‘n’ roll, but it could go anywhere from more grandiose, to more stripped down, to acoustic, to electric,
to psychedelic…
BV: Unpredictability is kind of nice.
How are you guys making a living selling records and touring?
BV: We’re super DIY. We sell records out of the back of our cars. Right now, we signed a contract with a licensing company, and that’s a step in really trying to make a living. The licensing company is trying to place our songs in commercials, all that kind of stuff. We have all our stuff up on iTunes, Bandcamp… We definitely sell physical copies. A lot of people still like that. But that’s not necessarily the way the world is going.
Are you planning on doing a tour with the release of the new album?
BV: We’re still finalizing details, but we are planning on carving a route out down the coast…
RD: We’re always playing around California, you know… from San Diego to the Bay, to Nevada City, Sacramento, Chico and coastal towns in-between.
Do you have a favorite local venue, these days?
BV: We haven’t played Witch Room yet, but it’s really cool. We’re excited to play there. We have a residency every first Thursday of the month at LowBrau, too. We’re not doing it this month because of our release show, but next month, we’re doing it and it’s kind of the TBD kick-off party, it’s the night before the festival starts. The guys that run LowBrau are such good guys.
How would you guys describe the sound of the new album?
Pistol Pete (a close homie of the band who came along with Valenzuela and Dean to the interview): Cashmere.
RD: It’s very silky, but edgy, and empty…
BV: Silky smooth…
RD: Silky, smooth and badass.
For more information, visit Facebook.com/excorpsmusic.
Exquisite Corps hopes debut album will resonate with the band’s growing fan base
It is exactly 4 p.m. on a Wednesday afternoon when Exquisite Corps’ frontman answers his cell phone.
“Dude, right on time,” Bryan Valenzuela says with a laugh, seemingly impressed.
Observing the magnetic character on stage lead a six-piece chamber rock band during a sold-out show at the Crocker Art Museum, one might imagine that the singer/guitarist of local band Exquisite Corps is unapproachable.
It quickly becomes apparent, however, that this musician is in fact more approachable than most.
After a morning spent painting, and playing a late show for a full house in Nevada City, Calif., the night before, Valenzuela is in great spirits. Exquisite Corps played at the Haven Underground, where they shared the stage with The Still Sea from Nevada City and Pillars and Tongues from Chicago. Apparently people were stacked on each other to watch the show, and Valenzuela had nothing but good things to say about the experience.
“I always love playing in Nevada City,” Valenzuela says. “It’s super cool there, everyone is really chill and interested in music.
“It was kind of crazy to have a show on a Sunday. There was a lot of people staying until one in the morning,” he adds.
Valenzuela has plenty to be excited about. After a few hiccups and lulls in the recording process, which began last summer, the band is now preparing to release its debut self-titled album at this year’s Launch Festival, which Exquisite Corps will be playing for the third year in a row.
For those who ever fell for cellist Gretta Cohn on Cursive’s Ugly Organ, this album is worth a listen. Since the spring of 2010, Exquisite Corps sprung from a cello and guitar duo, with Valenzuela on the guitar and Krystyna Taylor on the cello, to a full band. The current ensemble includes violinists Reylynn Goessling and Kristin Arnold, drummer Robby Dean and bassist Nathan Webb, in addition to Taylor and Valenzuela.
On headphones, the seven-song album allures the listener from the start, enchanting and ominous. Track one, “Tone Poem,” begins with Valenzuela’s voice oozing over the airy, ethereal resonance of an organ, soon joined by the warm hum of the cello. Then violins come in, high pitched and full-bodied, moving the song forward as Valenzuela’s voice reaches fervent, wailing heights.
The subsequent tracks progress in the same vein, commencing with soft, mysterious beginnings, and erupting into opulent, racing symphonies conjoined with Valenzuela’s vocals, impassioned and raging as he sings about subject matter varying from the followers of Dionysus to winter landscapes. Following “Tone Poem” is “Light As a Feather,” which appeared on local music blog Live in the City of Trees.
Now the band is releasing previews of the album, song by song, leading up to the release show.
To record the album, the band of six spent a considerable amount of time at Hangar Studios with music engineer Scott McChane, who has worked with the likes of local acts Sister Crayon, Agent Ribbons, Chelsea Wolfe and Ellie Fortune.
Valenzuela had his hands in both the recording and mixing processes, ensuring that he could guide the direction of the final product.
“I was there for every single aspect of it,” he says. “It’s expensive to record, and we wanted to record as professionally as possible and make it sound as good as we could with what we had.”
Exquisite Corps’ songs begin with Valenzuela, who writes the music, working through the melodies in his head. Then he approaches the others to arrange the songs. Each member brings something to the table, coming up with pieces to add or ways to solidify the songs.
The progression is not unlike how Exquisite Corps originated, with some string compositions Valenzuela wrote a while back and wanted to put into action.
Valenzuela grew up in Orange County, relocating with his parents to Placerville when he began high school. Around the same time he took up the violin at school, and was drawn to chamber music ever since. He studied music theory in college. When he was the singer/guitarist of former local band Call Me Ishmael, he wrote string accompaniments for the band’s CD release show.
It went over well, but for some reason the band never used strings again after that performance. He wanted to do it again ever since.
“I guess I was just in love with the sound,” he professes. “The string instruments can be, in my opinion, super versatile. They can be really sweet and beautiful, and then they can be really gritty and dirty. There’s so much range there that is great to utilize in music.”
Upon running into the right people at the right time, likeminded people like Taylor, Valenzuela fell upon an opportunity to start a chamber rock band, and thus Exquisite Corps was born.
They eventually recruited Dean and Webb, who played with Valenzuela in Call Me Ishmael.
“[The band] kind of took on a life of its own, in some ways, just by having the thought a long time ago,” Valenzuela says. “Sometimes things just fall into place, I guess.”
Though Exquisite Corps has come a long way since its beginnings, gaining a loyal following in Sacramento and playing sold out shows at venues around town, Valenzuela remains modest about his musical capabilities. The following is an excerpt from the phone conversation between Valenzuela and Submerge.
It sounds like you had played in a lot of other bands prior to Exquisite Corps as well?
Yeah, some bands here and there. Nothing really that notable, not that I’d like to talk about [laughs].
OK, that’s fair.
Because…when you are younger you are in all these different bands, and later in life it’s a little embarrassing.
But what would you say your thoughts are on your progression, anyway, musically, from Call Me Ishmael to Exquisite Corps?
I don’t know, just more experience as far as songwriting and how to arrange music [goes]. Since that band I’ve been studying how to arrange for string instruments, and I’m not a classically trained musician. But [I’m] learning, maturing, trying to ensure that the content of the music is all together. When you are younger, you’re just super excited, and you’re throwing everything out there.
Some of your songs sound almost soundtrack-like on the album. I was particularly thinking that [about] “Windswept” and “I Want What I Want.” Do you ever visualize storylines as you’re writing the songs or writing the lyrics?
Yeah, totally. Either there’s a specific story or it’s like a loose story and images, you know? Maybe it’s a non-linear narrative or something. It may not always come through in a lyric but it’s something you think about when you’re writing or even when you’re playing it. You know who I thought is really good is Neko Case.
Yeah, I love her music.
Dude, she’s so rad. But she tells these stories, and I don’t really know what the story is. The story is totally a non-linear narrative. I know there’s a story in there, and it kind of draws you along.
Would you say that’s the same with some of your songs as well?
I’m always inspired to do that. I’m always inspired by that kind of thing.
Did you ever receive vocal training? You really belt it out during some of your songs, and I was wondering if you’re voice ever gets strained.
In college I took choir [laughs]. I wouldn’t say I ever had vocal training, though. It’s just listening to other singers and watching other singers. I have no formal training in singing. And actually, this wasn’t even something I aspired to do at first. I was mostly a musician, a guitar player most of the time. I was in band in high school, and I was never a singer. But you start playing with people, and no one wants to sing [laughs], that’s pretty much how I started singing. You just try to get better, you just work on it every day and keep working on it. I’m sure I was really bad, I know I was really bad when I started singing… As far as vocal straining, I’ll just drink more water the next day and everything’s fine.
What kind of music are you listening to these days?
Shit, I’ve been listening to PJ Harvey. I kind of got obsessed with the last PJ Harvey record [Let England Shake]. And then I’ve totally been listening to tUnE-yArDs, even though we’re not even close to that kind of music, it is pretty awesome. I mean, we’re not that type of music but I do love it. Beforehand I was listening to Elliott Smith. I always listen to a lot of different stuff, like old stuff and new stuff. The Beatles to Blonde Redhead. I love David Bowie. I was listening to David Bowie coming back from Nevada City the whole time. It kind of keeps you going. It’s a long drive and it was late.
Exquisite Corps will celebrate the release of its self-titled album as part of the Launch Festival on July 25, 2012. The show will take place in front of the MARRS Building in Midtown. Doom Bird, The Honey Trees and I’m Dirty Too will also perform. This is a free, all-ages event and starts at 5 p.m.
