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text by Summer Bowie Watching one of Galen Pehrson’s films, like his most recent, The Caged Pillows, starring the likes of Jena Malone and James Franco, is like stepping into a psychedelic cartoon where you can’t help feeling a tinge of déjà vu – you’re not sure if it was a dream, a childhood memory, or an omen. It’s as though a mixture of real life memories and old movie scenes were plucked from your brain and rearranged into a brilliant new narrative. They’re the renderings of a world that most of us have inhabited for all our lives, but for Galen, who spent the first 12 years of his life in rural Nevada City, without access to cable TV or any other means of consuming pop culture, this world can be seen from a slightly outside perspective. His exposure to MTV was a wild awakening that led him into making music videos and working as a cartoon artist. His harrowing tale of running away, moving to New York, studying at RISD and eventually spending the first 7 months of his life in Los Angeles at a halfway home for dual-diagnosed criminals with psychiatric disorders in South Central is one that deserves a film in itself, but it certainly set the stage for the world of Caged Pillows that he has been creating for the past several years. Former iterations of this world are clearly seen in previous projects such as El Gato, a collection of hand-drawn, animated vignettes that was part of James Franco’s Rebel project, a multi-artist exhibition presented at MOCA during Jeffrey Deitch’s sadly missed reign. You can also see further developments of this vacuous, celestial world filled with characters that behave like humans but look like ducks, dogs, cats, wolves and mice in Mondo Taurobolium. This short film that is as much a music video for Devendra Banhart’s track Taurobolium as it is a film that carries its own, not only features the same starring cast and characters as his other films, but the score is also masterfully mixed and produced by the brilliant Noah Georgeson. His new film, The Caged Pillows, is a short that was originally intended to be a feature, but Galen says this introduction is just a pinprick into a world that will encompass several mediums and film projects in the future. Until then, in under ten minutes, this short is a vortex of mind blowing musical and visual narrative that will be premiered this Wednesday night at MAMA gallery alongside a celebration party for Ruins Magazine, an editorial content site that produced the film and will be launching online with the premiere. We sat down with Galen over green tea in his Hollywood Hills home/studio to talk about his process, his inspiration for the film, and the meaning behind the Caged Pillows. AUTRE: Do you consider yourself a cartoonist, an illustrator, an artist, or none of the above? PEHRSON: I think of myself as a director. But the art is cartoon art. I more closely align to cartoon art than animation. The style is taken from my memories; when I was a kid and would watch DuckTales. I’m interested in how those worlds could mature with you. So as an adult, what would that be like? You can always trust cartoon characters. You don’t have to build up characters like you would in a film. There’s this consistent moral overtone. It’s very light. If there’s a bad guy, it’s clear he’s a bad guy. With a cartoon-style arch, you can get away with a lot that you couldn’t get away with in a shorter amount of time. It helps with the compressed stories. AUTRE: Are you drawn to any other mediums? PEHRSON: Cartoons are just one facet of it. I have other projects that I’m working on. I produced a bunch of audio on this, like music stuff. I see it as all under the umbrella of this world of Caged Pillows. AUTRE: What mediums were you drawn to when you were a kid? PEHRSON: I’ve been painting since I was a kid. But then painting seemed pointless. As though everyone had already done everything you could possibly do with it. What could I contribute to this? It’s a medium that is so deeply covered. And it didn’t resonate very deeply with me. We’re in such a pop culture-driven society that paintings feel like something people do to remind them of the past. It seems extremely irrelevant. For me, the excitement of creation is bringing out people’s imaginations, immersing them in a different place for a while. I think that’s what the old painters did, like Heironymus Bosch. They had these whole worlds. During that time, it was very contemporary and edgy. For me, it’s trying to be innovative with technology and to create a reflection of our current society. AUTRE: It’s interesting that you feel Caged Pillows is a reflection of the present. It feels like an ambiguous representation of what could be the present, or likely a dystopian future. It makes sense that you’re working in a medium that is present/future. PEHRSON: I wanted to be reflective of our current society, which has fascinated me since my childhood. I was raised off the grid until I was twelve years old. I didn’t have television, electricity, any contact with popular culture. We had a Magritte book, and a few others. That was my connection to art. Besides that, we had nothing to do. I drew, painted, or played with dirt. That’s all there was. AUTRE: Was that a conscious decision that your parents made? PEHRSON: There was nothing else to do. We were really poor, so we had pens, paper, and dirt. It was something I always did. There are photographs of me, in diapers, smearing paint all over something. I never thought, “Oh, I want to be an artist.” Most of the time, I wished I could do something else. AUTRE: What was your first introduction to pop culture? PEHRSON: MTV. AUTRE: What was that experience like? PEHRSON: To me, it seemed so bizarre. Pop culture in general does this. Imagine landing on Earth and seeing people singing and dancing like this. That never went away for me. A lot of my work is coming from this place of being young and seeing all these images on TV. “Dress like this to be cool.” I think it’s different if you grow up with it naturally and slowly. It becomes something you adapt to. But at 12, I was like, “I don’t have the right shoes. I have to wear these pants.” There was this extremely fast rush of information on how to fit into society. Plus it was so limiting to be an individual. There were these groups you could be in – nerd, jock, bad guy, whatever. AUTRE: When you first started watching it, did you feel indoctrinated in it? Or were you immediately critical? PEHRSON: I loved it. I went on to do music videos. AUTRE: How long have you been developing your style, these psychedelic, celestial, animal worlds? PEHRSON: The first time I used the duck characters was 2005. That was for the cover of Adam Green’s Jacket Full of Danger. I didn’t know what to do with it yet. I sat around with a lot of ideas, with a very particular aesthetic in mind, for a while. In 2012, for the Red Bull exhibition, they wanted to commission an animation. So I was like, “The ducks!” That was the launching pad for it. AUTRE: That one was very erotic too. PEHRSON: Yeah, each one has its own experiment to it. That piece focused on the erotic. What’s interesting, all the dialogue in that is dialogue from Rebel Without a Cause, just mixed up. That was the first iteration of the characters. They’ve become more and more human over time. I think eventually they’ll just turn into humans. AUTRE: Your work deals a lot with Hollywood, fame, and money worship. Where do you see yourself in this landscape? PEHRSON: I have a pretty patronizing point of view. I was never asked to be a part of society. I find myself with all these rules, conditions, and responsibilities that don’t make any sense to me. I constantly feel like I’m walking through a preset maze. It’s so limiting. AUTRE: It seems like people don’t know they’re in a maze, and that's the scariest part. PEHRSON: Yeah, it goes back to pop culture. The best artist is not the most popular. Everything is essentially a commercial, even music, and now in art. We’re in an art renaissance. There’s so much content. But it’s all funded and propelled by how and who is making money. Art, to me, has been an honest, accurate reflection of society, without commercial interests. That’s the kind of stuff we get from design. Though they are close, design is for a purpose. Art isn’t necessarily for a purpose. AUTRE: In many ways it seems like artists are starting to ask themselves how they can commodify their own work before they've even made it. Or a brand is already finding ways to commodify it for them. PEHRSON: Exactly. AUTRE: Originally, this was going to be a feature length film, but then Ruins came to you? PEHRSON: Yeah, I was really excited. I thought of it as an introduction to the world of Caged Pillows. What started as a very linear feature film morphed and grew in many directions that go beyond the film. They gave me a lot of freedom to do whatever I want with it, which is rare and very refreshing. AUTRE: Who are the Caged Pillows? PEHRSON: We are the Caged Pillows. Our world is very comfortably jailed. We’re sedated, distracted by television. Everyone is on medication. Our society as a whole, Western culture, has completely driven itself away from the natural human state. That’s such an interesting topic. The Caged Pillows are us. I’m susceptible to this. We’ve been programmed to respond to what success, beauty, and happiness look like – and from a young age. The film is about that. People get these ideas, that success is a beautiful pool, a Bugatti, probably some gold chains. That’s what the gem in the film represents. At one point, he says, “I’ve been with you since you were a baby. Touch me and I’ll go crazy.” It’s the phones, the screens, touch-touch-double-tap, the instant gratification. There’s a line, “I fed you a lifetime of lies. I can’t even look in your eyes.” The screen can be talking to you, but it’s a one-way communication. There’s no singular accountability because it’s a culture. AUTRE: We’re all victims inflicting culture on one another. PEHRSON: Exactly. That’s the overarching idea of the film. There’s a fantasy that we will someday break that and learn more about ourselves as individuals rather than an idea of a society. AUTRE: Did these ideas become more pronounced when you moved to LA? PEHRSON: Yeah, definitely. This is Los Angeles. Everyone here is here for a reason. You can separate your friends into two categories: people you would actually call if you had a problem, and people you call for a drink or to go out with or whatever. It’s not a negative thing. Everyone here is ambitious, and acceptably so. AUTRE: It’s a superficial fame factory. Your work really dives into that. PEHRSON: The whole film in itself is commercials and the commercials are starring so-and-so. Everything is tied to the celebrity. Even unconsciously, we’re drawn to these figures and the meaning assigned to them. AUTRE: And the isolation on the other side of that. PEHRSON: Yes. I made Mondo from a very personal experience. All I had been doing was sitting on a screen. The only experience I had to tell was the experience of sitting on a screen. AUTRE: Do you ever have to go through a digital detox? PEHRSON: Every time I finish a project, I go hiking to the Sierra Nevadas for a week. Or I drive through the desert. I go out there and there’s just nothing. I have to hear my own voice. It’s a very strong contrast from, like, literally listening to top forty while I work, because I’m so fascinated by pop culture. AUTRE: What’s your work process like? PEHRSON: I’ve worked twelve to fourteen-hour days for the past few years. I wake up at 4[pm], I work from 5[pm] to 9 in the morning. Working all night, I don’t see anybody. It’s all done from a very isolated place. AUTRE: When people do voiceover, do they have to conform to your schedule? PEHRSON: No. I do all the voices first. There’s a fun version, which is just me. I send them that version and then they work independently. This piece being so much about pop culture, celebrity, dreams of “being something,” I wanted to involve people that live that lifestyle. I don’t give them much direction. They’re collaborators. They all seem to find joy and release in it. And all the actors are able to find the cracks in the system. They are involved with other things. They appreciate the art. But still, it is pop culture. If that’s the palette we have to work with for people to see it, that’s the right medium. AUTRE: What about the process do you enjoy the most and the least? PEHRSON: I enjoy all of it. The hardest part is sitting still for so many hours, and the isolation of not having connection or touch for weeks, or months even. I also feel like this piece called for it. That’s what it was about. It was a bit of method animating (laughs). The best part about it is working with my friends and people I’m genuinely a big fan of. Bar none, to collaborate with a community of ideas and artists who are like-minded. AUTRE: Is this world going to keep developing? PEHRSON: Oh yeah. This is just the entrance. It’s a primer to a much larger narrative, extending across music, film, sculpture. There’s a whole set of stuff. As a creative person, it’s all communications – writing, music, art. Any time you can take your vision and make it work in a different medium you’re improving that communication. I think that’s so important, to set outside of one channel of expressing something. I think everybody in the project feels that way. The Caged Pillows world is going to provide a place for people who are stuck in a genre to come and do something completely new. AUTRE: Are you excited to share it at MAMA? PEHRSON: I’m very excited. One side is that I made the piece in isolation, as I wanted it to be viewed in isolation. I asked people to call a 1-800 number when watching the film, and I got over 20,000 messages. They’re all about people feeling isolated, feeling like an alien. There’s this disassociation from the world around them. AUTRE: Can you tell us about Ruins Magazine? PEHRSON: Yeah, this film is kicking off the launch of Ruins Magazine. It’s a cultural digest that focuses around urbanism and the future of cities. It’s architecture, design, prose and imagery that all somehow express the human condition in present urban environments. AUTRE: Like a crossover between urbanism and art? PEHRSON: Yeah, urbanism, art, and culture. And it’s an amazing set of people. I think they’re going to publish a lot of content that otherwise wouldn’t get made. AUTRE: When does the site launch? PEHRSON: June 1st. The Caged Pillows will premiere at MAMA Gallery on June 1st, in conjunction with the release of Ruins Magazine, at 7pm. Follow Galen Pehrson to learn more about the world of The Caged Pillows. photographs by Oliver Maxwell Kupper. Text by Summer Bowie. Follow Autre on Instagram: @AUTREMAGAZINE