A Minute With Erwan Illien
I came across Erwan’s work through Bill Boling of Fall Line Press. Bill had talked a bit about this project he had going on with Erwan and I was in before I even saw the work. This book needs your support so if you are inclined, please learn more HERE.
Stay up to date and give a follow to Erwan on IG - HERE.
Can you tell us a bit about how this book came to be? Is it one of those situations where you forgot about this body of work and then looked at it years later and realized you had something special? Also, how did you get linked up with Fall Line?
EI: This book came to be after I decided to scan all the photographs from this time. I started with this CBGB material, then started posting on IG, one day at a time, and a follower said I should make a book. A friend of mine asked how much I would need and it started to germinate.
My brother in law is a publisher and so it became a family affair. during the planning and making of the book, I’ve engaged my nephew to help produce/direct a video showing/discussing the work.
I’m used to doing things on my own so this was a new experience for me. There can be dangers working with family so there was some hesitation there.
I did have other options I suppose but I wanted to present it in a manner that could reach a bigger audience.
The question is, you have this work and how do you share it?
Can you set the stage for the book and what it entails?
EI: CBGB, I didn’t know anything about punk music. Someone I worked with, would see me walking around with a camera around my neck and recommended I “go down there and check it out.” I wasn’t prepared because I didn’t have a flash and it was very dim. So the first time wasn’t much of anything.
I told myself I’ll come back with a flash. I bought one, never used it before and headed to CBGB.
I probably went there around 8 times over a 2 year period.
The first time, around 1979, and a few times in 1980. A couple more in 1981.
I lost interest in it because I had shown what I had done to a couple of people and some fellow students in a photography class I was in and the response was very negative. There were women and girls coming back saying they had nightmares.
Honestly, at the time, I didn’t know what I was looking at myself.
I saw that after photography, you moved to north california to make furniture… were you still taking your camera out during that period or did you take some time off?
EI: You wonder, how good is this? from my point of view, it’s very good in terms of Photography as a craft. And interesting, unusual enough to be shared. Surprisingly, it turned out to be totally a natural subject for me to photograph. Don't know why but I fell in that groove. I knew instinctively how to approach it. It felt at ease in this environment. I could do "my" thing independently. On one end, I knew deep down that this was good work. On the other hand, the reception was negative. I doubted myself even more.
And then, I came home one night and all my equipment was stolen and that was that.
Is there any relation with photography and cabinetry/furniture making?
EI: I worked in the restaurant business in new york and realized I needed to do something creative. I was too scared to go back to photography. I was frightened I couldn’t repeat the uniqueness of that work.
Someone recommended woodworking to me, I came across the work of some fellow north Californian artists like JB Blunk and Arthur Espent Carpenter.
I apprenticed at 46 years of age for Joinery Structures which is how I got my start in the furniture making world.
It was a great experience but that’s not what I wanted to do at this atage of my life. I ended up being a cabinet maker….I could help clients and I didn’t have to deal with architects, contractors, I could take the stage and do my thing.
It was never supposed to work. i kept going and being recommended. A solid business and personally satisfying.
With the upcoming release of your work on CBGB, has this made you take another look at your work….ie. another book in the future?
EI: A lot depends on the book what happens with that. Some money still needs to be raised. Life is hard for many of us. If the book happens, hopefully the book would open the door to a gallery show. Thayt’s the ideal way to view and take in this work.
When I make a print, you have the warmth of the skin. a certain kind of tenderness you don’t see online but in person.
I saw the kickstarter for the book but is there also a print or portfolio available as well? How does someone go about getting more info on that?
EI: The book contains 43 images, full bleed and they need to be seen big and we’ve done a good job of that. I’m humbled that Greil Marcus was able to write a wonderful essay about the work. He’s one of the foremost voices of rock n roll criticism.
Different prints are available to purchase at various sizes along with an offering for the full portfolio. Please reach out to Bill at Fall Line Press for more info on that.