Alejandro and Vicente Perez complete each other’s thoughts, and are instinctual to each other’s next move. The twin brothers, known to the art world as The Perez Bros., are one of the more fascinating duos in fine art that I can think of. I have seen it with Os Gemeos in the past, two twins who can finish an idea for the other, finish an expression, and yet with Alejandro and Vincente, I see their own personalities shine through in conversation. Both are humble and excited to talk about the work. They love Los Angeles. They love the car culture they were born in and live now. It’s in their DNA and it’s part of a concrete materiality of the city that it’s almost hard to fathom LA without the lowrider. Without the Kustom Kulture. I asked them if any part of their friends and family group were surprised in the subject matter they chose to paint, and they laughed. “It’s our life. It’s us.”
Ahead of their new show at Charlie James Gallery, Lookout Weekend (referring the work, time, and anticipation to get your custom car show-ready), we sat down with The Perez Bros (as well as Charlie and Ever from the gallery), for a longer video documentary series we are starting. But what I found interesting and wanted to share here is something that I had been trying to analyze for years: what is Los Angeles to the outside world? There is an aesthetic that can only be from Southern California, but what does that look like in Germany? What does that look like in Kyoto? How do other places see Los Angeles, what makes it unique beyond the film industry. What I come back to often is this: the customized and reinvention that comes out of here. The Perez Bros. are painting a world where innovation and ingenuity is an art form, taking the structure of something so deeply Americana, like the Chevy Impala, and showcasing and remixing it to be a work of art. LA is good for that; it makes art from the world around it. And the Bros. are making it historic.
Evan Pricco: I’m curious. Are either of you in the studio, looking over at the other making work, and just say,”I don't think that's a good idea.” I am curious how you both approach problem solving together.
Vincente Perez: All the time. All the time, all the time (both laughing). We might argue over something we don’t like, but actually, I think we probably agree a lot. But sometimes are biggest arguments are over if one of us thinks the work is perfect, and the other is tinkering with it too much.
EP: Is it all still exciting for you both, this part of the process? The interviews, getting ready for an opening, getting ready to show the work.
Alejandro Perez: It’s more stressful, I think? We both still think this is all crazy. I get nervous still.
EP: What I find fascinating about that is the part of the culture that you paint is all about “the showcase,” it’s about this showing your creativity on max, really showing out. Like showcasing the full potential of a creative endeavor. But you stay humble. So you two are the opposite of the way the culture operates.
AP: Yeah, that’s funny, right? I think it’s just how we are. We just grew up around cars, so this is who we are. I think we don’t really think too much about the why or the what of this all; these paintings are just our life.
EP: What are the earliest memories you have of cars being in your life?
VP: it's hard to explain, but just like all of it, honestly. I think we remember the energy, and the vibe, and the music was so loud and cool. It’s just part of us. I know that sounds simple, but this is just who we are.
EP: What you guys are really doing is painting something that's like a living culture. And I know many artists have done this in the past, but what I think is interesting here is that it’s both really realistic depictions of car culture but also you make it seem like a fantasy. There is dichotomy here.
VP: We don’t go out to the shows knowing we are going to make paintings, though.
AP: We go out with our cameras, and we know we are going to shoot photos. We know paintings come from our photos, and it’s all connected to us and we don’t borrow or take anything from the internet. But it’s all just us, so maybe that is what you are seeing, something authentic because we aren’t over-thinking anything.
VP: The over-thinking happens later in the studio.
EP: I think one of the most effective parts of your work is that you are also showing that the people in the paintings are artists, too. You are elevating the craft of the car culture while you are elevating the craft of painting.
VP: I don’t know if the people at the shows, the people working on the cars, know they are artists, but maybe we are reminding people they are, you know?
EP: Where are the specific parts of Los Angeles where this culture really, really lives?
VP: Everywhere. I think you can see that in our paintings, too. It isn’t just one neighborhood. It’s like a citywide thing. I think every area has it’s thing. I know obviously there is East LA, but it’s all across the city. San Pedro, the Harbor area…
EP Does it matter where the location of the photo is? Does the specific place matter?
AP: I don’t think so. I think what matters is capturing the moment, doing it right, making the cars look right, making you feel the excitement and the energy.
Published on
