The production partnership of artists Chloe Barcelou and Brandon Batchelder, B&C Productions serves a broad range of creative needs. Set, costume and prop design and construction, art direction and general production design, we are a multifaceted team that collaborates to offer large budget production value at refined cost. We are also the couple that brought you one of the worlds’ first expandable tiny houses on wheels.
Do you have an interesting project you need completed: a photo-shoot, an engineering challenge, a film in pre-production? Independently and through our production company, we work hard to bring your creative visions and musings to life. Below is a menu of services we offer, which can be utilized individually or as a whole. If you have questions, feel free to reach out and thank you for taking an interest in our work.
Photo’s Courtesy of 3Sixty Photography, Cody Burgess, Luna Rouge & Silvers & Bynes
An artist and storyteller at heart, my “means to an end” for my seemingly boundless creative energy was photography, and ultimately became creative direction, set design, styling, prop building, and all things related to fashion and art.
When I was a child, my eccentric and stylistically inventive parents encouraged me to develop my imagination. It started simply with my playing dress-up, but by seven I was ripping pictures out of my parents’ discarded magazines, assembling binders full of my favorites. I was homeschooled throughout middle school and high-school, which allowed me the time and freedom to explore my creativity throughout my adolescence, often through collage. By 14, I attempted to start my own magazine, and although that didn’t work out at the time, it was a great lesson in business early on. Throughout my teenage years, I experimented heavily in photography, creating fantasy and fashion images with my friends. Later, I attended The Rhode Island School of Design’s pre-college program, deciding ultimately to forgo college, desiring to focus entirely on working in the industry.
My first professional job came as an Editorial Assistant at New Hampshire Home Magazine, with duties ranging from research to editorial design, while simultaneously assisting the photo editor on a diverse array of sets including: interior editorials, products, food, portraits, and commercial advertising. As my skills developed, I later signed on as an assistant stylist at Ennis Inc., a full-range styling agency in Boston. For three years, I worked with a myriad of stylists on Ennis’s impressive dossier of clientele, including: Whole Foods, Glamour Magazine, Reebok, Wrangler, Boston Magazine, Edible, and Bravo TV to name a few. It was by this time I that had begun to get serious about my own body of work. I began orchestrating larger and more complicated photo shoots, involving deeper and deeper levels of creative expression, and their respective creative challenges. I began to hone my eye as a stylist, and photographer. It was this developing of experience throughout these years that would, unbeknownst to me at the time, later launch my career in film, and lead me into many other interesting avenues, such as tiny home building, TV appearances, and most recently, publishing.
It’s hard to tell my story without getting lost on the tangent paths my life has taken, which, until I began working in film, never seemed to connect in a way befitting a proper resume. Here, regardless, is some of it:
In childhood, I was inspired by many things, much to the dismay of my school teachers. I marveled at anything handcraft: from the metal, stone and woodworking of colonial craftsmen, to the intricate, embellished and ingenious lore of the Native Americans; from the limitless imagination of artists’ renderings to the precision and power of engineering. If it could be made, I wanted to make it.
In my teenage years, I attended a tech school and learned some finish carpentry and framing. Midway through, my family moved, and I would complete my high school education at a night program, instead. By day, I worked for my stepfather, learning the tricks of the welding, in a short time leaving to weld large steel for a company that made the framework for large scale structures.
In my twenties, I would work in several trades, from electrical, to construction, to finish carpentry, while attending college, again at night, dabbling in a multitude of arts in my spare time.
Nothing has changed, save for the fact that I was fortunate to discover a career that allows me to make almost anything. Day by day, I design, draw, draft, engineer, craft, woodwork, weld, sculpt and paint all manner of serious and silly things.
Photo’s Courtesy of Pat Piasecki