Holly Laessig and Jess Wolfe met in 2005 and immediately discovered their common interests. Ten years later, as the founders and lead singers of Lucius, they dress identically, sing in unison, and maintain near-perfect symmetry on stage. In other words, Lucius is a band that revels in careful synchronization.
It seemed appropriate, then, that Lucius’s arrival at the Walker for Rock the Garden 2015 should offer its own opportunities for synchronicity. The Walker’s ongoing exhibition International Pop provided one such moment. One of its most iconic works, Evelyne Axell’s 1964 Ice Cream (1964), adorns the cover of Lucius’s most recent album, Wildewoman.
Before Lucius hit the stage on Saturday, the band took a personalized tour of International Pop. They clearly enjoyed the opportunity, pausing in reverent awe to examine works like León Ferrari’s iconoclastic La Civilización Occidental y Cristiana (Western Christian Civilization). Afterwards, Laessig and Wolfe agreed to an impromptu round-table conversation about music, visual art, and ice cream. Joining me for the discussion were Walker Web Editor Paul Schmelzer, Performing Arts Senior Curator Philip Bither, and Visual Arts Curatorial Fellow Mia Lopez, who helped curate the exhibition.
Paul Schmelzer: I’m curious what the role of visual art, or other disciplines of art, is on your music?
Jess Wolfe: It’s a big thing for us. Both of us come from visually artistic families, so it’s something we’re always thinking about. Obviously, our stage setup and the way that we dress are taken into consideration as far as the marriage between the visuals and the music. So, when we were looking for album artwork, we went through a bunch of stuff, Evelyne Axell’s Ice Cream initially stuck out—and we kept going back to it, and eventually we decided that was the image that was calling.
Holly Laessig: Once you see it, you can’t think of anything more iconic. The colors and the feelings you get looking at it were things we wanted to express: this playfulness, this joy, this feminine strength. And some humor. I think those things, while also being bold, were really important in our choice of album cover. And luckily, Evelyne’s son, Philippe, was so generous in offering the piece to us. We really lucked out. It seemed like fate.
We actually didn’t know much about Evelyne Axell before picking the artwork, but when we went to visit Philippe in Belgium, he brought us some books and we starting flipping through them. There were all these triptychs and groupings of paintings she’d done with symmetrical women. Many, many different pieces: it was just another “a-ha” moment. It was so fitting in every way, it felt like kismet. He thought that we knew that already, that we were aware of her fascination with the duality of women and these symmetrical figures, but we had no idea.
Schmelzer: Where did you first encounter the work?
Wolfe: A friend of ours, a graphic designer who we had been working with for a long time, had brought lots of different pieces to the table to see what stood out. And, as Holly said, we kept returning to Ice Cream. At first, I think it maybe made the boys uncomfortable.
Laessig: Which was kind of the idea.
Wolfe: We actually thought we were going to get so much more dirt for using it.
Mia Lopez: We have it on the side of our building. We have this huge phallic image on the side of the Walker.
Wolfe: And people are like, “You know that’s not really an ice cream cone, right?” That’s the comment they’ll make. [Laughter] I’m like, “It looks like an ice cream cone to me.”
Mark Mahoney: To go back for a second, I was wondering if there were particular artists that sort of turned your world upside down or influenced you as teenagers.
Wolfe: Both Holly and I grew up loving old-school soul music, the boldness and simplicity of those songs and singers. We also grew up with visual artists, so I think we were always fascinated by artists who had a strong visual representation of their music: artists like David Bowie, Björk, Prince, and even James Brown, Sam Cooke and the Supremes. When we first started working together, maybe because we weren’t completely comfortable in our stage presence at the time, I think it was a good way for us to transport ourselves into something else together, and also hopefully to transport the audience at the same time.
Philip Bither: We’re working on a festival next year with Devendra Banhart. He’s bringing together people from across disciplines: visual artists, painters, installation artists, and musicians. Do you find that to be increasingly common in independent music, that more and more people are blurring the lines between making visual culture and making music?
Wolfe: I wouldn’t say it’s new, but I definitely think it makes sense. For artistic people, that impulse comes out in all different ways. I’ve always used my hands since I was a little kid and been fascinated by visual culture. My mom worked at museums since she was a young person. That was something that was always around me, that I was always inspired by… It’s also an easy way to escape everyday life.
Bither: It’s an individual pursuit, rather than collaborative.
Wolfe: And then you go away and you find the like-minded people, and you realize you’re not alone. There are a lot of weirdos. A lot of weirdos.