Inspired by time spent sifting through family albums, Alex (Alby) Breilein creates photo-drawing collages from old photographs. The drawings are from snapshots taken before Breilein was born or formed memories. “I never knew them, yet they are a part of me,” she says of her grandparents’ pictures. Her artwork can be viewed at Wussow’s Concert Cafe throughout the month of June. Below is a recent interview with Breilein, as well as photos taken at her recent exhibit at Hemlocks Leatherworks:

Breilein in the doorway of Hemlocks Leatherworks during her opening art reception. (Photo by Jess Morgan)

When did you start working on redrawing from family photos? What mediums do you primarily use?

I have drawn from family photos with pencil and ink for about two years now. My mom and late grandma have given me dozens of family snapshots and some professional portraits, as well. Then I started thinking about the history of photography and the value of a photograph. I have photos of one set of my great, great grandparents and that’s probably the only one of them that was ever taken. There’s a lot of value in those photos, but also not a lot of information, because how much does one photo capture someone’s whole life? And where am I, a hundred plus years later, in the scheme of it? With that idea in mind, I began drawing family members from before I was born or before I could remember. The figures do not have recognizable features, and that’s where the idea of unknown family ancestry and personality comes in. Also, I’ve begun paying more attention to which photos I draw from. Photos with figures with jigsaw puzzle-like outlines or parts that protrude sharply are interesting to me, and more easy to recognize as limbs or hairdos. These outlines work, because one can identify that it’s a person or people, even without realistic shading and details inside.

Do you always work from pictures of your own family, or do you have other source materials or subjects as well?

I also use graduation photos from old yearbooks, as well as old snapshots from estate sales and antique shops. Although, this series is all from photos from both my mother and father’s sides of the family. I’m privileged to have a lot of visual history in this way.

The original family photos that the drawings are based upon.

A lot of your work is primarily black and white, with sparse uses of only a few colors or shapes. How would you describe the way you use that balance, and what appeals to you about framing portraits in this way?

One reason why I use black and white is that I never got good with colored pencils, pastels or chalk. I don’t understand how to blend and erase them. Plus, it’s hard for me, and perhaps viewers too, to not read into the symbolic meaning of colors in a sparse drawing. For example, I don’t want red ink to insinuate passion if I’m drawing someone I know very little about. Another reason I use black and white is that I like the control I get with micron pens and mechanical pencils. I’ve used colored pens before, but again the symbolism of color distracts from the ambiguous idea I’m going for.

What appeals to you about centering ancestry within your art?

This is a fairly new idea for me, actually. I used to think art that was a personal or family diary was unrelatable and annoying, but I was thinking about it too individually and small. The whole point of expressing personal struggles or victories is to connect us with others. Now I’m drawing my family as a personal diary, which certainly is not a new idea, but I hope centering ancestry is a way for viewers to reflect on their own family dynamics.

How would you describe the appeal of your art to attendees who do not know you or your family?

The appeal is to have viewers think about their own family, especially members that they only know about from a couple photos or stories. Think about what part of that person is in you now. Surely some of their genetics is in you, but also think about what it means to have parts of some distant relative’s personality, status, tendencies, weaknesses, etc. within you now. On a grand scale, these drawings could make you think about nature vs. nurture. Or you can think about the cool winged glasses and shag haircuts you or your parents used to have. Either way.

Have these drawings connected you to, or caused you to reflect on yourself and place within your family or community?

Oh, gosh, yes. That’s where all these drawings came from. I don’t have any definite revelations, just more daydreams, really. I think how different it all could be if my ancestors hadn’t been farmers, or teachers, or white, or if my grandmothers would have gone to college, or something like that. In looking through envelopes and envelopes of family photos, I just kept thinking, “What are the big or little decisions that affect our trajectories.”

Are there any other projects you’re working on right now?

This series has been my focus since February. I don’t think I’ve gotten all I want out of it yet, so I’ll continue to work with it for a while, but I also want to try drawing large-scale or life-sized portraits — at least once anyway. I also have some ideas about drawing dying, expansive landscapes with generic-looking lost people in them. Robyn O’Neil’s large-scale drawings are an inspiration for that.

Where can people find your work right now, either for sale or on display?

My older work, which is not personal or focused on family photos, is for sale at Alt Creative and my website. Please message me if you want a print or commission, since I don’t have an online store. This series will be on display at Wussow’s throughout June.

Alby’s parents viewing the art on display at Hemlocks Leatherworks on May 30. (Photo by Jess Morgan)

Do you take commissions, or are there any projects or collaborations you’re seeking to participate in right now?

I sometimes do commissions, but am more and more particular about this since it takes several hours and I am enjoying making my own drawings. At the same time, I welcome inquiries for hired work. Going forward, I want to participate in more DIY shows, because I want more low-brow, beginner, and impromptu showings in Duluth. We have a big music scene that somewhat financially supports new musicians, but I don’t see the same backing when it comes to unestablished visual artists. I mean, a lot of people seem to readily spend $10 on a beer or cover, but not to see an art show. Don’t get me wrong, there are places (Studio Cafe, Alt Creative, Hemlocks, Boubville, Prøve) that aim to highlight unestablished artists, but largely, the financial support doesn’t seem as strong.

To view more of Breilein’s work or to request a commission, visit her website at alby-alex.com, or @alby._.alex on Instagram.