SERIES 1 - Parches
Ten hours or more a day I spend here… I guess it’s my most personal space. Seems like all of my ideas, communication, feelings go through it at some point. Virtual space allows you to project/manifest anything you want immediately—like I was never allowed to have pets growing up, but on YouTube I can look at stupid cats all day—but in return it hijacks your desire/intimacy & traps it within this claustrophobic glowing rectangle. It’s like 2D said: “The digital won’t let me go.”
It’s like how the earth has two types of movement: rotation and revolution. Sitting in zazen is perpendicular from everything else I do. It’s not ‘clearing my head’, not relaxing, not concentrating, not reflecting, and not meditating. It’s just sitting. Somehow it feels a lot like banging your head against a brick wall.
One time I got to visit Laurie Anderson’s riverside studio, and she passed on a bit of wisdom from Brian Eno: when mixing or arranging a piece, look out at the water, and then you will know if you have too many elements. Somehow I suspect this always results in you having too many elements.
SERIES 2 - Eric Fanghanel
Yes that is a bed, but it’s also my work area. No, I don’t usually sleep there, and I know it’s probably bad for my posture. But it’s where I feel most comfortable. To the right is the desk where my girlfriend works. The two paper sculptures often sit on a shelf directly opposite so I have a good view of them from my workspace. The one on the right is a piece by Takashi Murakami; the left one is the physical form of our latest album Loop.
Our garden is like a scaled-down section of a forest, with a six-inch undergrowth, but an almost 50-foot tall canopy (chestnut and palm tree). Unfortunately mosquitoes are normal sized and plentiful. Other fauna includes cockroaches, caterpillars, moths, black widow spiders, scorpions and barking lizards. On the left you can see our fridge and to the right our gas tank. The Mexican flags were set up by my British girlfriend for my birthday. I personally find them too kitsch but she really buys into that market crap.
Our kitchen is outdoors and is very small which makes for quite an intense cooking experience. I spend a lot of time there preparing breakfast (I normally take care of breakfast while my partner does dinner.) With only two hubs and a tiny electric oven my mother gave us as a house-warming present, cooking can take a long time. We often host dinner parties for our friends, usually a mixture of Mexican and Indian food. But they always have to be gone by 11 because our landlady “suffers from nerves.”
This is where the television used to sit; before we put it in the closet with all the other shit we had to get rid of in order to make this house more habitable. Some things we couldn’t change, like the color or patterns on the walls. This used to be our landlady’s late daughter’s room, and she was the one who decorated it. The lady refers to the decoration as ‘artistic.’ Most of the paintings (except for the portrait) are my girlfriend’s.
SERIES 3 - Orrest
This is the view from Orrest Head in Windermere, the largest lake in the UK. Growing up in Mexico listening to Aphex Twin, Boards of Canada and everything coming out of the UK underground and independent labels, I always fantasised about this faraway mysterious land. When I finally moved over here I ventured up to Windermere. Upon arrival I made my way to the top of Orrest Head, a popular view. When I got to the top I was completely breath taken from the insurmountable beauty. In a second everything clicked into place and in this land I could see and feel the music I had grown up listening to, as if I finally understood what made it so special. To feel such a deep connection to a place shifted my entire perspective and reset my motivation. I finally felt at home. From that day onward I adopted the name of that hill, Orrest.
Platform 2 at Manchester Oxford Road train station. I find myself standing here often, on my way to work, meetings and adventures. Each journey is an experience in its own, with unique characters, with whom for an hour at a time I get to share a space with. I use my time on the trains to lose myself in music, a soundtrack for the changing landscape outside my window. Other times I just sit in silence listening to the soundtrack of the train itself. This place is sometimes my office too; glue, scissors, pens and paper all over the cramped tables. Ideas seem to constantly find their way to me on the train. It’s an unlikely space to find personal meaning.
This last picture is my most personal space. Paintings and drawings made by far away loved ones; posters, stickers and collectibles dot the walls and my desk... Tools for nostalgia and/or inspiration. Some hearty top-notch bottles of whiskey and tequila for the sad (and happy) times sit close at hand. On the left a small collection of books on programming, sci-fi, philosophy, manga, design and sound with a touch of life added to the room by my beloved orchids. One cosmic owl perches nearby. Finally, my two best friends sit right at the centre: my laptop and Maschine. They are a doorway.
Within Ensō, Parches serves as creative director and business manager. Helped at times by guests in different combinations, he performed, recorded and mixed most of the music on Loop, as well as guided the aesthetic of the project by curating and developing multimedia contributions, coordinating elements from around the world.
Parches (Mexico City, 1989) is a composer, producer, writer and multimedia artist. He moved to New York to attend the Clive Davis Institute of Recorded Music, going on to earn production credits on records by Yoko Ono and Cibo Matto.
Loop album designer and digital artist Eric Fanghanel (you can see his work here), and producer/sound artist Orrest. All three of them grew up together in Mexico City, but Eric now lives in Oaxaca, Orrest in Manchester, and Parches in New York.