Topic Studios created a beautiful short featuring artist Abigal Goldman. A cinematic portrait directed by Kevin Staake.
Abigail Goldman’s morbidly delightful dioramas have been sprinkled throughout various group shows we’ve curated the past few years, and we will be continuing to show new works from her throughout the Summer and Fall of this year.
We still have some great works available by Abigail Goldman in the Thinkspace inventory. After finding out more about Goldman’s background and life outside the studio, her work becomes even more endearing.
Thinkspace is pleased to announce Petrichor, a mid-career retrospective at the Mesa Contemporary Arts Museum dedicated to the surreal and darkly stylized work of Japanese American artist, and Mesa AZ native, Esao Andrews. Known for his minutely detailed and narratively suggestive paintings, Andrews brings haunting imagery to life through his uniquely mannerist distortion of subjects, both human and animal, and the strange undertow of his desolate, Gothically inspired landscapes. Themed around homecomings, departures, and afflictive transformations, Andrews’ works feel drawn from the same collective imaginary reserves as myth.
Andrews attended New York’s School
of Visual Arts where he studied illustration and completed a B.F.A in 2000. An
accomplished figurative painter, he participated in the BP Portrait Award at
the National Portrait Gallery, London, in 2002. The artist has worked
commercially in tandem with his fine art practice which has, in recent years,
grown to include large-scale murals, and produced iconic album cover artwork
for American rock band Circa Survive. He has also created numerous comic book
covers for DC’s Vertigo Comics, and memorable deck designs for Deathwish and
will feature over a dozen iconic
works by Andrews, borrowed from private collections worldwide, and will include
the original artwork from the Circa Survive album releases. Also included in
the exhibition are never before seen sketches and maquettes, objects and
skateboard decks, and twelve new, never before seen works alongside a
site-specific mural created for the retrospective.
Staging a world of unlikely
combinations and unexpected tensions, Andrews revels in the surreal elasticity
of the subconscious and its penchant for the poetically absurd. No hybrid is
too unimaginable, no character too fantastic, no anthropomorphous invention too
unthinkable. Objects, animals, and people are all dynamically animate and
sentient, subject to the inexplicable rules of their living fictional cosmos.
Always one for compelling epilogues, Andrews has revisited past characters and
themes throughout his career, building on earlier works and weaving a sort of
narrative continuity throughout his output. Though the tone of his imagery
often borders on the grotesque or even macabre, a literary impulse links
Andrews’ works to the fabric of fable and myth, its folkloric threads binding
it to something vaguely archetypal and collective in its haunting resonance.
Andrews lists diverse sources of
inspiration for his work, everything from art history to skate counterculture.
The immersive manga fantasies of anime master Hayao Miyazaki figure prominently
among his influences, as do French 19th-Century Academic painting styles,
particularly its neoclassical revisitation of myth and the tenebrous cast of
its moody contrasts. Andrews also cites the heightened emotional drama of
Gustav Klimt’s Symbolist Art Nouveau style and Egon Schiele’s Expressionistic
sensual grotesque as other stylistic sources. Contemporary painters James Jean
and Inka Essenhigh list among his inspirations too, as does visionary
cartoonist Al Columbia for his masterful, ghoulish reinterpretations of
“Petrichor” is said to
be the fluid stone coursing through the veins of the Gods in Greek mythology,
it is also the warm earthen smell after a downpour on desiccated land, the
relief of rain on hot desert and dry air that signals a moment of elemental
transformation and all the inexplicable micro-metamorphoses that attend a
relieved and changing landscape. This is the dark but beautifully redemptive
imaginary Andrews is continually bringing to life – one in which endings and
beginnings are indivisibly bound.
Kevin Peterson’s anticipated “Wild” and Frank Gonzales’s “Desert Discourse” opened last Saturday, March 2nd to a great reception. We thank everyone who came out to view these beautiful bodies of work in person. The shows are on view now through March 23, and available works from Desert Discourse and Wild can be viewed on the Thinkspace website.
Thinkspace will be featuring a solo booth from Leon Keer
Located At: 125 West 18th Street New York, New York 10011
General Admission: Saturday, March 9 11AM-8PM Sunday, March 10 11AM-7PM
We’re excited to be back in NYC for the 19th edition of SCOPE New York at the Metropolitan Pavilion in the Chelsea District. We are showcasing a solo booth featuring 12 new works on wood panel from Leon Keer out of The Netherlands. Keer is a world leading artist in anamorphic street art. He has executed commissions in Europe, The United States, Mexico, The United Arabic Emirates, Saudi Arabia, Russia, New Zealand, Australia and several Asian countries.
A message seems to be present in Keer’s work. Current issues are reviewed, such as environmental concerns and the livability of this world. The artist is constantly aware of the playfulness and beauty versus the degradation around him, a contrast that he expresses and amplifies in his work and which he uses as a metaphor for life. His paintings reflect his thoughts, confronting the viewer with the diseased spirit of our times, visible decay counter-pointing a timeless longing for unspoiled beauty.
Known for presenting groundbreaking contemporary work, SCOPE New York will welcome 60 international exhibitors at its centrally-located venue.
The first fair to run concurrent with The Armory Show, SCOPE New York’s spirit of innovation has consistently forged the way for emerging artists and galleries. Attuned to nuances in the market and itself an influential force in the cultural sphere, SCOPE continues to usher in a new vision of the contemporary art fair.
SCOPE New York 2019 opened on Thursday, March 7, 2019 and will run through Sunday, March 10, 2019.
We’re excited to be showing new work by Pheonix-based artist Frank Gonzales in our project room for his solo exhibition Desert Discourse opening Saturday, March 2nd. Gonzales’s compostions showcase his love of botany and ornithology, combining both the organic and artificial, the natural and the contrived, to produce what the artist himself has aptly coined ‘artificial realism.’
In anticipation of Desert
interview with Frank Gonzales discusses the inspiration behind this latest body
or work, and his love for prickly pear and John Coltrane.
SH: What was the inspiration behind this latest body of work? Were you exploring a specific theme or pushing yourself artistically in a certain way?
FG: I’m always trying to push myself artistically with each painting or body of work, at least I try. The theme of my work is a continued exploration of the phenomena and sense of wonder I hold of the natural world. There’s been an introduction of aerosol in some of the works. Its been great To revisit my roots as a graff writer and play with the medium again. The quality of paint and options of colors offered these days are phenomenal. That kind of makes me sound old, haha. It’s just great to throw another medium in the mix and react to it.
SH: Is there a particular piece in this exhibition you feel really challenged you? If so, why and what makes you proud of this piece.
FG: I really enjoyed painting Night Breed. It’s more specific imagery wise. Instead of stacking various elements I chose to illustrate a pollinating night scene of a Saguaro with Long Nosed Bats. There are so many different pollinators of the Saguaro, but a night scene with bats is just so badss. Its remarkable knowing a Saguaro doesn’t even produce flowers until its around 70 years old and can age well over 100 years old! Pollination of flowering cactus in the Sonoran Desert could be a whole series in itself. Who knows, that could be another venture to explore on the horizon!
SH: How do you approach starting a new piece? Walk us through the process of a piece from conception to completion.
FG: I’ll usually start by obsessing over a certain cactus or mineral or some sort of natural element as a jump-off point. Or I will just start putting down paint on a surface and react with shapes and colors, etc. Its a pretty organic process.
Once I have a surface I’m happy with I will start to research from books, pics I’ve documented, my desktop folder of images, or plants from my own collection. Once an element is chosen I’ll draw it on the surface and it grows from there. The painting will usually dictate what it needs. The hardest part is learning to step aside from yourself and let it happen without getting too heady about it.
The painting process is usually a blur of being in the moment. I love that the most. All sense of time is gone until you stop and back away. It’s an experience I think most artists can relate to.
SH: What excites you about your work / creative process?
FG: It can be a love/hate relationship. Sometimes starting is the hardest part and also the most exciting. As mentioned above I think getting out of the way of yourself and moving with the process is exciting. There’s a sort of dialogue that happens I find enjoyable.
SH:What frustrates you about your work / the creative process?
FG: The times where you feel like you’ve run out of ideas or stopping yourself mentally before even starting. This is usually a sign that something needs to change. Find a different approach or just change the music. In the end the work will still be consistent, but its the mental chatter that can be a bit of a buzz kill. I definitely think the excitement and frustration balance each other out. You can’t have one without the other.
SH:Is there a piece of knowledge or advice around being a working artist that you wish you knew 10 years ago?
FG: Not really. Its an ongoing journey to be explored.
SH: If your body of work inspired an ice cream flavor, what would it be called and what are the ingredients?
FG: Hmmm, maybe Prickly Pear fruit! I would have to be a Paleta and all natural. HA!
SH:If you could collaborate with any other artist (dead or alive) in any art form, such as music, film, dance etc… what would be your dream collab and what would you create?
FG: At first my thoughts would be to do live art with John Coltrane, but I wouldn’t get anything done because I would probably just stand there in awe. I would probably have to go with producing some type of super sexy and sensual botanicals for a Prince album. HAHA.
SH: What do you think the role of artists is in society? How does other artwork inform how you move through life?
FG: The role of artists in society is very vital. It’s how we communicate and express the unspeakable truths of natural phenomena. Language can only communicate so much. There are so many forms of art out there that inspire, inform and speak to me. It shows what it means to be human. It’s chaos, it’s ugly, it’s pretty, it’s functional, it’s useless, etc. It’s all out there. What matters is how we engage with it. It’s about what we choose to accept and not accept and to keep an open mind and heart regardless.
SH: Favorite way to celebrate the completion of a project/body of work?
FG: a big sigh and some brews. ha!
Join us for the opening reception of Desert Discourse, Saturday March 2nd from 6 to 9 pm.