Emerging Artist: Eric Breish- From a Dream to the Art World.

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<v Speaker 1>you've got a lot of history with our featured guest host and I wanted for you to share just a little bit about your experience, you know, with with Eric, before we jump into the episode absolutely so.

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<v Speaker 2>I have known Eric Breisch since 2021, when he was one of the first artists in my artist mentorship program, and so I've had an absolute pleasure of getting to know Eric over the last few years and also just watching him grow and mature as an artist and experiment and take risks you know those things we talk about so often here at Just Make Art and so this is really fun to have our first co-host something that we've talked about over the last few years of wanting to bring in artists that we know or friends of ours or even maybe some of our heroes, to kind of bring their own quotes to the table and have a discussion with them.

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<v Speaker 2>The big D, to discuss his story and also his upcoming exhibition that opens this weekend, opens this Friday, may 18th, at Ferrari Gallery on Farrington Street in Dallas, texas, with a new collection of his work and work that he's really been, as you'll find out in the episode, kind of working through life and work in the same kind of concept, and so there are some things that are even touched on close to what we talked about in our last episode with Louise Bourgeois and just that autobiographical story and healing and life coming through in your work, so super excited for this episode and his quotes.

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<v Speaker 2>And for those of you that don't know Eric which?

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<v Speaker 2>He's an emerging artist out of San Antonio, texas.

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<v Speaker 2>He's really best known for his paintings on metal that present holographic images.

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<v Speaker 2>As the viewer moves around the room and the way light hits the painting, everything changes.

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<v Speaker 2>These metal pieces sorry, sculptural paintings in a way and everything protrudes from a flat surface as colors shift to move in every direction.

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<v Speaker 2>And, like you, he uses industrial tools and unconventional methods to create these works of art.

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<v Speaker 2>And his whole thing is having it engaged with both electrical and natural light to create an effect that is very different than most pieces that you will see out in the art world.

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<v Speaker 2>And so aluminum, copper, steel, all these different things he interjects transparent inks and varnishes, and now, with his new work, he's been doing some collage and glass work and photography and things that he has mixed in for this new collection, and I do highly encourage anybody in Dallas or Fort Worth Metroplex to go see the show and its run and let us know what you think and let us know what you think and let Eric know what you think.

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<v Speaker 2>And so it's exciting, and Eric talks about this process in the podcast and pitching to the gallery.

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<v Speaker 2>I know you know my old work, but I have these ideas for new work.

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<v Speaker 2>Take this journey with me.

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<v Speaker 2>That's a nerve wracking thing, nathan, to present to a new gallery.

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<v Speaker 2>You're in.

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<v Speaker 2>Hey, I've got new ideas.

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<v Speaker 2>Will you take this journey with me?

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<v Speaker 2>And I will say much, much kudos and love to Ferrari Gallery for taking that journey with an artist, because a lot of times in the art world they may not want to take that journey with you at times.

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<v Speaker 2>So the fact that they said yes, let's do this, that's pretty exciting to me.

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<v Speaker 1>Yeah, having had a chance to meet and hang out with Deb and Jim at the gallery there.

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<v Speaker 1>Yeah, we should all be so lucky to work with galleries that are that supportive of new bodies of work and supporting what the artist really wants to do, and that was really cool seeing a good chunk of that show that Eric was delivering actually during that trip the metal work, for example.

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<v Speaker 1>Of course I'd seen pictures and video, but, as with all art, it always looks better in person.

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<v Speaker 1>But especially the holographic nature of his metal work, of which he's got some incorporated into the show, it's absolutely crazy.

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<v Speaker 1>You're moving from different vantage points, being like is this following me?

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<v Speaker 1>What's?

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<v Speaker 2>going on.

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<v Speaker 1>It's, it's, it's super, super cool.

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<v Speaker 1>Um, and just real quick, before we jump into the episode, I was curious if maybe you wouldn't mind sharing.

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<v Speaker 1>Um, you know what was something about?

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<v Speaker 1>Uh, just something that you experienced or observed, you know, with Eric um as an artist kind of, how he approaches his work.

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<v Speaker 2>Um, you know, while while he was in the mentorship program, Well, I think this is an exciting episode for the artists out there who started late.

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<v Speaker 2>So for all of the artists out there who didn't have an art education or go to art school or have an art background, this is a great episode for you.

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<v Speaker 2>Because when Eric tells a story, he started work late in life.

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<v Speaker 2>He had a career, he had things that he was very goal-oriented in and successful with, and then he had a dream about making art, and so that was kind of his step, or jump into making art.

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<v Speaker 2>So you don't need an art education to be an artist.

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<v Speaker 2>Sure, that helps, but you can always educate yourself further on and learn everything you need to know.

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<v Speaker 2>And I think for Eric, one of the things that really separates him is his absolute drive and his focus.

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<v Speaker 2>His drive and focus are so important for artists, especially when you first start out, because it's really easy for you to be unmotivated while you're motivated in the studio.

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<v Speaker 2>And one of the things Eric did is and he talks about in the episode when he moved to Houston he went out to see everything he could.

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<v Speaker 2>He was bold enough to go to galleries, go to shows, go to all these things, and I love that.

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<v Speaker 2>Here's the thing with Eric Boldness has always been something that he doesn't lack, and I think that's what really drew him to me as a mentor.

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<v Speaker 2>Working with somebody who is bold and not afraid to take risks or go out there is exciting, because the one thing you need in art to find some success I'm not talking about financial success, I'm talking about success getting into galleries, getting into things is the boldness to put yourself out there, and Eric has that and he's always had that, and I think that's where that success has come to him.

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<v Speaker 2>And look, he found an artist that inspired him insanely.

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<v Speaker 2>And what did he do?

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<v Speaker 2>He wrote to the artist, ended up meeting with the artist and that artist became his mentor and started his journey.

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<v Speaker 2>That's.

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<v Speaker 2>It's just a beautiful story.

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<v Speaker 2>And the quotes that he comes with with Rick Rubin, my favorite author, Mary Gabriel from Ninth Street Women, Corey Allen, I mean these are incredible quotes and I just want to we're about to jump into the episode but the quote that I love the most was the Mary Gabriel quote in Ninth Street Women that says there are hardly any exceptions to the rule that a person may pay dearly for the defined gift of the creative fire.

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<v Speaker 2>We all pay, we are all sacrificing something, sacrifice something.

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<v Speaker 2>There's no exception.

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<v Speaker 2>If you're going to do this, if you're going to go all in and be an artist and create art and try and find a way in the art world, you will sacrifice something.

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<v Speaker 2>Now I think you can balance life and sacrifice, but for some of us it comes at a really heavy cost and a very sad, unfortunate cost as well, which Eric will talk about and reveal more in the episode.

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<v Speaker 2>So really excited for everybody to hear this, especially those artists who have started late, those artists who have that boldness hiding inside and they're just ready to try and figure out a way to get out there.

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<v Speaker 2>It's a great episode for you and I hope you enjoy it.

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<v Speaker 1>All right.

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<v Speaker 1>So I'm here with my guest host.

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<v Speaker 1>Now we're calling you a guest host because for some reason that just feels easier than just calling you a guest.

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<v Speaker 1>I like that you are sitting in for the other one and only Ty Nathan Clark man.

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<v Speaker 1>So I mean, the bar is simultaneously really low, but also pretty high.

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<v Speaker 3>Yeah, it's some big shoes to fill, literally Right, yeah, he's a big boy.

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<v Speaker 1>And we can, um, we can talk about.

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<v Speaker 1>Actually, it might be a good place to kind of jump in.

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<v Speaker 1>So that's how we know each other, that's how you know.

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<v Speaker 1>You know Ty, you're part of his mentorship program as well.

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<v Speaker 3>Yep, first class First, the first class, the first round, yeah, yep, yep, yeah, the first class.

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<v Speaker 3>The first, yeah, and just in general, like first class we are.

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<v Speaker 3>Yeah, Like in general we were all pretty first class.

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<v Speaker 1>The OG class.

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<v Speaker 1>Yeah, so, yeah.

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<v Speaker 1>So we're going to get into some fun stuff today.

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<v Speaker 1>We're going to go ahead and break down some quotes that you selected and in the process, we're going to get to know you as well, hear about kind of your story, your journey as well.

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<v Speaker 1>So it'll be a fresh perspective, since people are probably already even though we're only, you know, whatever 20 episodes deep sick of hearing from you guys, I'm a breath of fresh air yeah, exactly.

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<v Speaker 1>So no pressure.

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<v Speaker 1>Um, yeah, so we're actually here at ferrari gallery in um in dallas and um, really cool.

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<v Speaker 1>So we got a chance to come, uh last night to the opening of cecil tuchon's opening.

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<v Speaker 1>Um, you're going to be the next show here, which is why you're here and kind of kind of why why her here.

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<v Speaker 1>So that's whose work we're sitting in front of and I thought it'd be really fun.

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<v Speaker 1>When he was giving his artist talk last night, which is which I really enjoyed um mentioned that he had a sub stack, spent some time, you know, on there this morning and um, really, really good stuff.

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<v Speaker 1>So, uh, would would highly recommend checking out, if you're on sub stack, the two Shonian um, and we'll link to that in the show notes as well but really, really, really interesting stuff.

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<v Speaker 1>Super, just insightful yeah, I'm going to call it wisdom around the creative process and just what it is to make your way as an artist.

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<v Speaker 1>But so I thought it'd be fun, since we're sitting in front of his work at a show, to start with one of his quotes and then the all the years.

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<v Speaker 1>Uh, you know from here, but so this quote goes.

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<v Speaker 1>Um is from one of his entries.

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<v Speaker 1>Again, we'll link it in the show notes.

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<v Speaker 1>But he said often I've found clues about myself by studying my artworks.

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<v Speaker 1>I see poetic meanings and how I decide to do things, or what imagery I'm working on, etc.

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<v Speaker 1>Everything we do is autobiographical in some way or another, and so I just thought that would be kind of an interesting place to kind of jump off.

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<v Speaker 1>So we're going to hear some of your story.

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<v Speaker 1>Um, I love that quote because, thinking about clues in work and you know, as we sit in front of these tremendous pieces, there's, there's a lot of that, right, the poetry, the clues, the scraps, the piecing together, the taking apart and just re-composing.

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<v Speaker 1>I love it.

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<v Speaker 1>And so this quote makes a lot of sense, especially in the context that we're in right now.

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<v Speaker 1>But if you wouldn't mind, yeah, just kind of tell.

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<v Speaker 1>Just brief introduction, right, I know you but that's about it.

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<v Speaker 3>So, yeah, sure, I think it's a good quote because I've been making art since 2006.

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<v Speaker 3>And it was the first time I ever touched paint to a canvas.

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<v Speaker 3>And in the beginning I didn't come from a background of like a formal art degree or anything like that.

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<v Speaker 3>It was literally from a dream that I had in 2006.

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<v Speaker 3>And I saw this painting in my dream and I woke up and I told my roommate at the time I was like I had this weird dream about painting and I feel like I need to do that.

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<v Speaker 3>And he was like whatever, okay, uh, I have, I took an art class in college and I have a toolbox in the garage.

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<v Speaker 3>Go down and grab that.

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<v Speaker 3>And uh, and I did, and I opened it up and it had all these like dry brushes in there and some oils and some acrylics.

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<v Speaker 3>I had no idea the difference between the two.

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<v Speaker 3>And so, uh, one day after work, I I went to I think it was hobby lobby and I bought this canvas, I brought it home, I set it against the wall in a spare bedroom and, um, and I busted out these old paints and I painted.

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<v Speaker 3>I think I grabbed the acrylics uh, just by nature, cause I squeezed both of them out and it seemed like that other one was a little bit easier, and so I painted this painting, which is really funny because it was figurative.

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<v Speaker 3>It was of a flower really strange, but I had that image in a stream and so I did it, and what I found was that I really loved the process of what it felt like to sit in a meditative state and go through this process of painting, and so that was the first time that I had ever made work without any kind of expectation of where that might lead.

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<v Speaker 3>And for me that was the beginning of it all.

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<v Speaker 3>And it wasn't until 2008, when I moved to Houston for a job, that I get introduced to the art scene out there in a really big way really big galleries, big artists, museums, lots of money and it started to kind of shape the way that I thought about art.

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<v Speaker 3>And the reason why I think that quote is important is because I think early on I started to look at art through that lens and it started to become a thing about kind of success and gallery sales, and so I didn't really get a traditional start of just loving what I did from that.

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<v Speaker 3>I always had it in the back of my mind like, oh, you've got to, there's a ladder to climb and there's, you've got to win people over.

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<v Speaker 3>You've got to, you know, get acceptance out of that process.

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<v Speaker 3>And so that started to form kind of what I thought I needed to do as an artist.

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<v Speaker 3>And I met my mentor, andreas Nadebaum, in 2008 at that gallery in Houston, and not having a formal art degree, but then getting this really well-known mentor that was pretty well-known in the art world, um, that was was tremendous.

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<v Speaker 3>And just to kind of touch on that a little bit, cause it's such a great story is I wrote this.

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<v Speaker 3>Uh, I came out of the studio one night and I had seen his work and it was like midnight and I came out and I was so inspired I had to go to work the next morning and I was going to write him this little email and it was like I thought it was going to be a paragraph.

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<v Speaker 3>It ended up being like three pages or something like that, and I sent it off and I was like this guy's going to think I'm a lunatic, right.

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<v Speaker 3>And so I didn't hear anything back for like a month and then his wife emailed me back and said, hey, I don't know, he gets a lot of fan mail.

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<v Speaker 3>He just caught him at the right time.

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<v Speaker 3>It really meant a lot to him.

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<v Speaker 3>He's coming into Houston, would you like to have dinner with him?

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<v Speaker 3>And so I was like, yeah, let's do that.

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<v Speaker 3>We met near the gallery.

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<v Speaker 3>He had a show that night opening and he's double my age, so at that time I was 27.

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<v Speaker 3>He was in his 60s and I thought there was no way that we were going to be able to sit down and have any kind of dialogue to really talk about.

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<v Speaker 3>Turns out, best friends really hit it off immediately and that was kind of the beginning of me starting to get some formal education in the art world.

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<v Speaker 3>But it also put a lot of pressure because you want't want to.

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<v Speaker 3>You know, you want to rise to that occasion and to meet them there and uh, and that for me I guess it just didn't leave me a lot of room to take my time, if that makes sense.

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<v Speaker 3>I felt a real obligation to get in there and start rolling my sleeves up and becoming somebody and um, and the reason why I'm turning it back into that quote is that I started making work originally that I thought was going to be successful, maybe even commercially, and that doesn't mean that you're in just a straight commercial gallery, just means that you want to make sales and you want to to to get something for that effort, right.

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<v Speaker 3>And so, talking about the work being autobiographical, I wasn't thinking along those lines in the beginning.

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<v Speaker 3>I was thinking more, not not like it didn't have meaning and it was just decoration, but but that it was that that I wasn't utilizing my full story and that I was making things that were aesthetically, you know, beautiful and complex and really kind of allowed the viewer to step in front of it and be transported into another place.

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<v Speaker 3>They didn't necessarily know what my history or my background like, how it fed into that.

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<v Speaker 3>My goal and maybe it still is to some degree is to get the person to stand in front of the work and actually not think about anything else, not think about their day, not think about the social struggles and all of that, right.

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<v Speaker 3>So so that was kind of my, my motto for a long time, and maybe it was a way for me not to have to be vulnerable in that situation and and so I kind of skirted that for a long time and it worked for me and it and it and it kind of kept me from having to be too like, oh, if they don't like the work, it doesn't matter because it doesn't relate to me as much.

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<v Speaker 3>So what's interesting about having this conversation now?

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<v Speaker 3>And what has it been 18 years later?

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<v Speaker 3>Uh, now I find myself, uh, preparing this show for next month that's going to open, and I've been working on the show for about a year, year and a half and, um, and it is very autobiographical and it is very vulnerable to me specifically about you know, uh, a situation that I've gone through in the past year and a half uh, where you know no secret it's.

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<v Speaker 3>I'm happy to explain this on the podcast, but it's like going through a divorce.

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<v Speaker 3>Uh, where you know no secret.

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<v Speaker 3>It's I'm happy to explain this on the podcast, but it's like going through a divorce.

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<v Speaker 3>Uh, and, and why it was so critical and why it was so like impactful for me is she was the person that allowed me and kind of gave me permission to quit my full-time job in 2015 and, uh, and pursue art as full-time, and nobody had ever kind of said you should do that.

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<v Speaker 3>I had a great job, I was very comfortable, I was making good money and she said do you want to make art full-time, and is that what your passion is and is that what your purpose is?

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<v Speaker 3>And I said, yes, you have to quit.

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<v Speaker 3>And it took me about.

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<v Speaker 3>We had like a year and a half plan.

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<v Speaker 3>We were at my mentor's house in California in 2014.

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<v Speaker 3>We had that discussion and at the end of 2015, that's when I was supposed to kind of pull the plug and I was fighting it the whole way it was.

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<v Speaker 3>It was every month.

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<v Speaker 3>It was like maybe we should do it a little bit later and later, and later and later, and finally it came to that point, and later and later.

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<v Speaker 3>And finally it came to that point.

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<v Speaker 3>And, um, and I remember sitting in my office that day and it was supposed to be the day that I quit, and I was nervous.

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<v Speaker 3>I didn't sleep the night before.

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<v Speaker 3>I had a meeting, uh with with some clients.

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<v Speaker 3>That morning.

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<v Speaker 3>We went in for the meeting.

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<v Speaker 3>I was literally falling asleep at my computer as I'm like supposed to be running this spreadsheet, and my boss looks over at me and, uh, and he said, hey, are we keeping you up?

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<v Speaker 3>Uh, you know, I don't want you to, I don't want to bore you and I don't know what it was, the way his tone was or something like that, but the light bulb clicked off in my head and I said, as soon as I leave this meeting, I'm going to walk into that office and I'm going to quit, I'm done.

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<v Speaker 3>And so, literally, we stood up from the meeting and I tapped him on the shoulder.

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<v Speaker 3>I said hey, I need to talk to you in the, in the office, after we're done.

00:18:39.025 --> 00:18:43.964
<v Speaker 3>And I walked in and, uh, and I basically said hey, this is what I want to do.

00:18:43.964 --> 00:18:46.978
<v Speaker 3>To give you a little bit of context, my company supported me.

00:18:46.978 --> 00:18:58.138
<v Speaker 3>They had art in the building, he owned pieces of mine, he understood what my passion was, um, and, and he kind of gave me a little bit of like pushback and said are you sure you want to do that?

00:18:58.138 --> 00:18:59.624
<v Speaker 3>Like a lot of people would kill for this job.

00:18:59.624 --> 00:19:01.739
<v Speaker 3>And I said I'm sure I'm done.

00:19:01.739 --> 00:19:02.981
<v Speaker 3>And that was it.

00:19:02.981 --> 00:19:28.559
<v Speaker 3>My two weeks I put in, did that, and then it was like kind of like off into you know, the, the, the future, and so even up through that time I was still making work that that still wasn't really resonating for me personally in a really deep, meaningful way and it took me a long time to get to that point and, I think, going through this divorce, I had two options.