Saturday, July 7, 2012

The David Gluck Show: A man who isn't afraid to ask the hard questions--Interviews with Candice Bohannon and Julio Reyes

Posted by: Dave

Work by Candice Bohannon

Work by Julio Reyes


Candice Bohannon was haunted by a recurring dream about a journey to Mars. She hoped to find out more about this dream and bought a holiday at Rekall Inc. where they sell implanted memories. But something went wrong with the memory implantation and she remembers being a secret agent fighting against the evil Mars administrator Julio Reyes.  In real life they are married but continue to paint on Mars.


What advice do you have for young aspiring artists out there?

Julio: Be fearless in the pursuit of your dreams, but never sacrifice your integrity for the sake of an art career. A great art career without love for what you do, or respect for what you did to attain it is a tragic loss. Have faith in what you are, because that faith will be tested; and be audacious, because you will need it to courageously express a genuine vision.

Candice: Create the work you want to see out in the world. Set goals for your artwork, career, and personal life, and make those goals powerful guides for your future decisions.

How has being married to another artist affected your work? A lot of people have asked if jealousy was an issue between Kate and I, which leads me to the question; do you also sabotage the other person’s painting medium at night with Elmer’s glue when they go to bed?

Candice: Since Julio is partially colorblind, my favorite sabotage is to rearrange the colors on his palette while he is not looking and see how it affects his painting day.

I think that being married to another artist is fantastic. I benefit so much from being able to call Julio in for emergency help on a problem that is plaguing me in a piece, to critique, to reassure, to celebrate the finish of a new work, to cheer me up after the failure of an attempted piece.. Generally we leave each other alone throughout the workday unless help or opinions are asked for because each day/hour/moment can be such a personal rollercoaster in the studio.

As far as jealousy goes, we are only human and have our days, but for the most part we deal with that quite easily. I am really happy for Julio when he succeeds at something and am really hard on myself when I do not. I don’t have bad feelings towards him for succeeding; I just push myself harder to become better. We believe that our careers will see-saw throughout our lifetime together, and that my day to shine will be followed by his day to shine and in the end, we are a team working together for a team victory; so we really cheer each other on.

Julio: I like to incrementally steal all the best brushes from her studio, until all she has left are those rock hard crusty brushes that dried bent at the bottom of a backpack.

Being married to another artist has been a great blessing in my life, but I know that it can be difficult for some. A long time ago Candice and I realized that if we were to weather the pressures of two art careers under one roof, we needed to have a clear understanding of what we valued most in our life together. In the hierarchy of importance, our marriage is far more important than either of our careers. With this in mind, we work through the highs and the lows hand in hand, always knowing that our deepest commitment is to each other, and the wellness of our family. Getting this backwards I think would be the end of any married artist couple.

Where do you think “Sandwich artists” fit into the contemporary art world?

Candice: I am not sure what their future is in the art world, but I am a pretty big fan of the sandwich artists at Mr. Pickles and Togos in particular. I am a proud patron of the sandwich arts.

Julio: What she said, but I’ll have a foot-long please. With extra avocado, and bacon.

Where do you two see yourselves in 5 years in your artistic careers? 20 years? 100 years?

Candice: First of all, I would hope to still be around in 5 years, 20 years and beyond to be making career moves. All going according to my desires, in 5 years I see myself in a reputable gallery, creating the paintings drawings and sculpture that I can’t wait to see out there in the world, and continuing to show in national exhibitions. In 20, I would hope to be doing more of the same but with more stability and have a large body of work behind me that I am proud to have created. In 100 years, I hope that my works are treasured by their keepers, that they offer some form of pleasure, comfort or intellectual interaction to their owners and are a testament to the times we lived in.

Julio: In five years I want to be sculpting as much as I am currently painting and drawing. I’ve always felt most natural working 3-dimensionally, and long to return to sculpture in the round. I like to think sculptors are the lumberjacks of the art world, and doing dirty work with loud tools suits me just fine.

In twenty years, I want to look back and see a body of ambitious and sincere works that I can be proud of. I want to be healthy, in mind and body, so that I might plan well my late creative years (so no snorting coke off of dashboards on the 405 in LA!...for a while) There are some major projects, both in painting and in sculpture that I would like to see realized by then -- and would, most likely, need all the energy and durability of my youth to accomplish.

In 100 years, I hope that the legacy I left behind would be deeply cherished by those who sought and collected my work. Beyond that, I could give a rats’ ass whether I was critically hailed or my work was in museums. That’s not why I paint. All that would matter is whether or not I knew that I gave it my fullest effort….That I put all I had, and all that I could feel, into anything that I fashioned with my own hands.

I would like to discuss a very important matter. At the end of Prometheus when the ship was crashing, why were the two actors running in a straight line away from a donut shaped ship that clearly was rolling towards them? Wouldn’t they just run off to the side to avoid getting crushed? And what was up with the black gooey stuff? And why was that one android such a dick?

Julio: Could they have run off to the side to avoid getting crushed? Yes. Yes, they could have. I thought that too, but that false sense of relief after avoiding catastrophic death would only have ended in a gory surprise zombie attack.

The “black gooey stuff” was obviously from the Bog of Eternal Stench, which also most likely claimed the life of Atreyu’s horse Artax when he sank into The Swamp of Sadness.

Candice: Bwahahaaa! Seriously, not a ton of realism in that movie, from the non-scientific scientists to the non-militant military, it was pretty odd. I actually liked the android quite a bit, not only did the actor do a great job at being an android, but his character played back to the original Alien where the android’s motives proved untrustworthy. Him and the female scientist (who is my new hero - completely badass!) are the only reason I would watch that movie again. Every time a character died and those two got more camera time, the movie got better.

Where did you two get your training, or are you mostly self-taught?

Candice: We both received our Bachelor’s of Fine Art degrees from the Laguna College of Art and Design in Laguna Beach, CA. That is where we first met. Julio started as an illustration major and almost dropped out after the first year because it was so disappointing to him. When he decided to go Fine Art, everything changed for him and he really excelled. I started out Fine Art but had never painted or sculpted before and was pretty nervous that everyone else would be more advanced than I was. I learned quickly though, and came to love painting and sculpting as much as I had loved drawing before. The school is small and Julio and I shared most of the same classes. I think we were always in competition with each other, a friendly competition that pushed us to do bigger and better things - it drew us closer, we are a good match.

Julio: Agreed! We got a good foundation at LCAD, but I feel like so much of what we do now in our work was self-taught. Our grad school was the school of hard knocks.

If there was one thing you two could change about the art world, what would it be?

Candice: Hmmm, it sure would be nice if there were better money in this field, but it would probably just corrupt us all, so I don’t know… I guess I just wish that the general populace knew as much about art as they did sneaker brands, what the Kardashians are up to this season or what wine goes good with fish. I sometimes feel like my field is too obscure, too uncommon, that very few people understand it or have sensitivity to it. I wish that would change, I wish that the arts played a bigger role in our culture.

Julio: The art world could probably do with less Fedoras. Yup, less Fedoras.

Joking aside, I like what Candice said. However, I think more cultural prominence for Art and Artists would probably have unintended consequences. Seeing how things are in popular culture today, I think the stage would get bigger and the spotlight brighter. Much like reality T.V. “celebrities”, artist would begin to do ANYTHING to become “Stars”. Considering how much exposure and opportunity we have to be excessively concerned with our appearances these days; I think it’s never been tougher for an artist to “find his or her own voice” and to have that voice well up out of genuine experiences. Not something hatched in the minds of producers, or on Facebook, or T.V. …I’m not really for the celebritizing of the art world. I think Art loses in that equation. It gets lost in the spectacle.

Can I borrow some money?

Candice: Sure, on one condition – you also have to pay my bills.

Julio:  I’ll send those right over.

Work by Candice Bohannon

 Work by Julio Reyes


  1. Great interview! I just want to know why there was a self operating machine on the ship made only for dudes when clearly there are women on the ship and also wouldn't Charlize Theron have used it since it was her escape pod? One more thing - if I went all the way to a different planet and was frozen for two years I'd want to know BEFORE The mission what the mission is, not after we all woke up and are there already.

    1. Wow, great point about the operating machine. Maybe is was some super sophisticated prostate examination machine.

    2. The self operating machine was specifically for Peter Weyland's use. My question why did David, the android want to be rescued by, and then help Shaw?

  2. Terrific interview, David. It's good to hear the sensibilities and sense of humor behind these two wonderful artists... Thank you.

  3. I think David is more sentient than we know, and has his own twisted logic agenda, to try to eventually become "more human than human" In the future (Alien), Ash was totally indistinguishable from a human, David was like a less polite C3PO. How did the company make that jump? Perhaps the sequel will hold the answer.

    I have a fedora, but its covered in paint and looks like its been run over by a semi a few times. Id like to see less photos of painters smoking cigars and drinking cognac with slow shutter-speeds.

  4. Great interview of two awesome great generous artists...thanks for taking the time and effort and digging deep to find out what inspires them and motivates them. about calling up Fabian Jean and Paul Fenniak for two interviews...both in Montreal. I think you might find them of some interest as well. (and while you are at it , ask them how they come about creating their wonderful surfaces...scumbling, scraffito, and so on....would love to see their studios as well)
    Thanks, James, Ottawa, ON, Canada