ReadysetDC A CREATIVE URBAN ENTERPRISE

Words w/ Christen Lien

Reported by Allyson

All beautiful photos by Tracy Clayton, unless noted.

“I would LOVE to see the District and community manifest this opportunity to create a historical moment in time where it created a voice and changed history and culture for the better.”

The first time I saw Christen Lien perform with her viola was at the Pop Tech event at the Swedish Embassy on June 28th. I was so moved by her music I had to know who she was and where she came from, so I went up to her and bought her debut CD, ‘Vol. I: Battle Cry’. The following week I saw her perform again at TEDxOilSpill and we arranged an interview. We met at Teasim in Dupont Circle and again a week and a half later at Eastern Market.

We discussed her classical music background, breaking away to do her own thing (she plays the viola through guitar effects and a looping machine), her involvement with activism (particularly with first nations and plastic pollution) and her perspective on Washington, D.C. as an artist who recently relocated here. Lien is bi-coastal between Washington, D.C. and Los Angeles, but has recently decided to rest her bones in the District.

Above photos by Kris Krug.

She described DC as ‘a unique and surreal playground,’ noting the architecture of the city being more thoughtful and ornate than in other cities, the fashion missing flare at times, and the city being ripe for artists due to its critical positioning in this historical moment and the global impact that decisions made in this city have on the world.

When we discussed the best place in Washington, D.C. for this interview’s photo shoot, Christen requested the National Gallery of Art. Lien seeks out large-scale historical artworks to perform in front of, such as the Detroit Industry mural by Diego Rivera that is featured in her music video for the song Unabi. While exploring the DC museums she came across Matisse’s large-scale cutouts and noted a place in the La Négresse piece. I also visioned her in the garden court, so, thanks to photographer Tracy Clayton, we manifested our visions into a reality. ‘Manifest’ is a word Christen uses quite often when it comes to her reality.

Left: Photo by Danielle Barnett. Right: Photo by Leslie Dreyer.

The 2 locations we shot at the National Gallery of Art were:

·Henri Matisse, La Négresse (1952), paper collage on canvas
National Gallery of Art, Washington; Ailsa Mellon Bruce Fund
(On view in the Modern and Contemporary Galleries in the East Building)

·The West Garden Court in the West Building of the National Gallery of Art

Allyson: What lead to you breaking away form classical music?

Christen Lien:Being classically trained is a huge gift, especially in regards to technique and thorough training. But there was as aspect in the training and musical experience that was missing for me. I love classical composers such as Faure, Dvorak and J.S. Bach… but there are others who were a greater influence on my music, such as Radiohead. Prince. Tori Amos. Ray Charles. Björk. Jimmy Hendrix. Tom Waits. Buddy Guy. The soul of Jazz and the emotion of rock… I couldn’t quite get those emotions through classical music. I couldn’t quite access all the rhythms I felt inside, nor was I being taught how to create the funky rhythms on my instrument in classical training. The soul of the blues, the aggression of rock and the innovation of electronic music is alive and well within me. So at the end of high school after a decade of intensive and formal classical training, I broke off.

First I bought a guitar effects processor so that I could manipulate the sound of the instrument, a pick-up to make the viola electronic, and an amp. I would try to find new noises on my viola, and new techniques on how to get sound out of the instrument. Then I would sit with my iPod and pick all my favorite songs, main stream songs – and play with them for a long time. I mean, this was YEARS of work; I felt I was beating the classical training out of me. And why? Because I had to learn to improvise.

My one criticism about classical training is that we are not taught how to improvise. In classical training the music is put in front of you. You learn it, you master it to perfection, memorize it even, then voila! Your work is complete. But what I love is to play from here (she points to her heart); and not just play but to create from here (continuing to point to her heart). Why is this not taught in classical training? I don’t know. We all feel it, all musicians feel the music inside of us, but to put it into practice and jam out to it with other musicians from the heart isn’t easy for a classically-trained musician. And I have shared experiences with many classical musicians that get overwhelmed when they come across this block. I would see them have emotional breakdowns and go into tears because they can’t get out of their internal structure. It was fascinating and disturbing.

So I went on a multi-year mission to break out of this structure. I would improvise with my favorite music on my iPod, and then I eventually improvise with music that I did not like, for the challenge. Then I played live performances with DJ’s at clubs and art galleries in Los Angeles. I would jam while a DJ performed a set; I would not know what they were going to do in their set, and simply riff and play in accompaniment.  Though it was a very fun time, though I was receiving a plethora of requests for performances, I felt I was gaining success from ‘winging it.’ And there was still something missing from me, again — and that was composing.

That is when I decided that I needed a looping machine. There is only one of me and I wanted to be a solo artist, and so the looping machine is when everything got really interesting and fun.

A: As an artist, why DC?

CL: Because DC is ripe for artists. And it needs artists, as an influence on its world. Artists give us a mirror to who we are and what choices we make in this world. I’m getting to know the art scene here… and I know there is an artist scene, but it isn’t apparent to my eyes upon first glance. I want to see a larger scene thrive in DC. Every time I come here I get bombarded with inspiration (both positive and dark), more than in other cities right now. The conversations going on in this town are very important. The culture is very important. And I want to be a thread, to contribute to the fabric of Washington DC. I want DC to be a place where the average tourist or the busy lobbyist, entrepreneur or politician can’t escape regular exposure to thoughtful art, images and ideas.

A: Where are you looking to find the DC art scene? Where have you gone?

CL:I live in the Dupont Circle area so I am always in that area and I know Adams Morgan. I have explored some of the museums and the mall. I’m just getting to know U Street, Columbia Heights a little bit… and other than that, I’m also staying in a lot because I’m writing my next album. That’s a lot of work and a big reason not to go out. I have been visiting this town for the past several months, and have been living here full-time for almost two months now… and with the help of my last two Washington DC concerts at the Pop!Tech and TEDxOilSpill events, I have met a lot of great people who are helping me get to know this great town. I’m living and learning more and more everyday.

A: Did you come to town for PopTech & TEDx?

CL: No. (laughs) It was a coincidence. Neither one of the organizations knew I was here when I was booked to perform.

A: Then what attracted you to DC?

CL: I first started visiting Washington, DC because my boyfriend is here for his work. But ultimately, I am here because of desire. DC is a very unique, surreal playground… I often find myself at dinner parties with the most interesting people who do incredible and intense work around the world. It’s very different from Los Angeles, or any other city in the U.S. for that matter. A small town with a high concentration of influential thinkers and doers, who are constantly getting into juicy conversations… I can’t resist! We are in a turning point. Our thoughts, actions and paradigms during this turning point in history are too important, and am compelled to actively and artistically engage the development of our future.

A: What is important in the kinds of venues you to perform in?

CL: There is a broad range, from museums to theaters, piano bars to private homes. The important aspect is that the audience is captive. During my concerts, I need to not only hear my loops, but I go on a very personal journey with the audience. So you won’t find me in a crowded noisy bar.  I’ve played in concert halls and tiny rooms… the importance is that intimacy between me and the audience is very palpable. Emotions run high during the shows and the audience must be comfortable to run with their imaginations; there are always people closing their eyes, there are often a few tears, there is this interesting opening up… And I get equally into it.

When I play I really go into another world and I’m just… traveling. I don’t know how to describe it exactly… but it’s like a sonic adventure. And I feel the audience very much. I feel when they are with me and when they are not — I love this exchange.

A: So you draw from the audience?

CL: That is something I find interesting. When I’m playing and the audience is not with me, it is hard to hear myself on a technical level, and it drains my energy. Nothing drains my energy more… so there is something there in terms of this reciprocity in regards to an audience. When I’m playing alone I get into this same zone… Anytime I pick up an instrument I go into sonic flight, so to speak.

A: When you are playing alone is there anything you think of that keeps you playing?

CL: When I compose, I start with a thought, and not with a chord structure. In just about every single song I’ve written, there was something about the human condition or a situation that I was trying to understand or explain. And then the song came. It starts with something that isn’t the music and then I take the feeling, a sentiment or vibe, and try to sculpt it. I make sonic sculptures.

I’ve done this since I was a child — used music to process all that I’m feeling and working to understand about this world. It’s where I find my emotional intelligence. This is why having music in the school systems is critical in our development into mature individuals, so many of us process life through music.

Christen and I discussed how since spending time in DC she has been toying with the question: What would happen if 10,000 artists moved here for a short time, how would that affect the culture? Say, for 6 months from Spring to Fall in 2011, there was an invasion of the creative class, and the city of Washington  supported this movement and contribution. What would happen to the city, how would that ripple throughout the world? What would it take to get all these artists here? What kind of infrastructure would have to be put in place to accommodate it? What kind of impact would it have?

A: Christen, in your opinion what can we do to attract more artists to Washington, DC?

CL:On the short term, housing affordability and public transportation is the major influence on this decision. Artists need to be free to create, so any place that has high rent will miss the artists. To make them stay long-term, opportunities for artists to not only survive, but thrive, are obviously essential. If you appreciate the arts and want more artists here, you must help manifest conditions where they can thrive.

A: We discussed being Bi Coastal between LA and Washington DC. Do you see this pattern with other artists and creatives?

CL: I don’t know that many artists that do this, but I do know a few who want to do this… particularly between California and Washington DC. Again, housing affordability is the big question, so we are discussing ways that we can share places to live… maybe a time-share, cooperative concept for artist housing in the two places.

A: Why is Washington DC so ripe for artists?

CL: Sometimes different cities throughout history have acted as acupuncture points for change and movements. Art movements in particular are place-based; there needs to be an aggregate of talent in the same place, collaborating and supporting each other. A handful of beat poets, a community of French impressionists, a clan of talented musicians…

These pockets and subcultures of artists have proved to be very important influences on our modern thoughts, worldviews and paradigms. It feels as though Washington DC is coming to that kind of moment in time; the conversations are pivotal, the polices and decisions made here have international impact. A lot of eyes are on this city right now… and there is a space and need for an increase of artists here, and I think many people feel it. Many people in DC have communicated to me their desire to have more artists and people of the creative class to be here. People ask me all the time, “How can we get more of you here?”

So what if we made this a reality? What if the District of Columbia intentionally created the conditions for an infiltration of artists to come here to work and create, even if it were for a short period of time? I’ve talked to many artists who said that right now, for the first time in their lives, they would consider moving to DC to do their work and contribute to its fabric… on one level, it’s all a matter of logistics and finding a uniquely affordable place to live. On another, its about our vision for what can become and our creativity in making it be.

I would LOVE to see the District and community manifest this opportunity to create a historical moment in time where it created a voice and changed history and culture for the better… but a city can’t do that without a strong community of artists. Artists amplify who we are and where we are going. What better time to do that right now, than in Washington DC?

What would happen if 10,000 artists moved to Washington DC for a 6 month commitment? How would our world change?

A: Finally, what is your current inspiration? Who are you currently listening to?

CL:I recently found out that my music has been accepted on Pandora.com, so I (along with friend and fans) am currently curating the “Christen Lien” station on Pandora… Pandora currently has me paired with a lot of the spacey sounds and songs that I find limiting and don’t truly vibe with, so we are curating the diversity of my Pandora algorithms by hitting “thumbs up” or “thumbs down” to certain songs that come up, and adding artists to the variety such as Nine Inch Nails, Radiohead, Bjork and CocoRosie, and adding composers such as Clint Mansell, Philip Glass, Hans Zimmer and Gavin Bryars to the mix, to give the station more of an edge… I’m bringing more of the funk and the dark side to my Pandora station. It’s great fun.

You can learn more about Christen’s projects, watch her videos and listen to her album ‘Vol. I: Battle Cry’ on her website, www.itsnotaviolin.com.