Opening Reception of Sandra Chevrier & Sean Mahan Recap


Thank you to everyone that came out last Saturday to support our new solo exhibitions from Sandra Chevrier and Sean Mahan. Their fans came out of the woodwork for the opening and both artists definitely felt the love. So many local artists came by to support too, always cool to see. A big thank you goes out to both Sandra and Sean for creating phenomenal new bodies of work as well.

The exhibitions are on view now until November 5th Tuesday through Saturday from noon to 6pm. To view available works from the artists please visit the links below.

‘The Cages; and the Reading Rooms of their Lives’

‘Rendered Problematic






























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Last Weekend of “Vitality & Verve : In The Third Dimension” at LBMA

It’s the last weekend to catch “Vitality & Verve: In The Third Dimension” at the Long Beach Museum of Art!  

“Vitality & Verve: In The Third Dimension” presented by the Long Beach Museum of Art in collaboration with Thinkspace and POW! WOW! Long Beach is by far our most immersive curated exhibition to date. The above video was created by Selina Miles with assistance from Birdman.

The museum will be open this weekend from 11:00am to 5:00pm and admission is $7 per adult, $6 for students and seniors. 


Sandra Chevrier & Sean Mahan Prints To Be Released at Opening Reception

We will be releasing a new print from Sandra Chevrier and Sean Mahan during the opening reception of both exhibitions this Saturday, October 15th.  The prints were done by the awesome people at Static Medium and are limited to one print per person. If any prints remain we will share them on our webshop next week and share details on Monday. Please see below for all the details regarding each individual print and the sale process.

Sandra Chevrier Print

Sandra Chevrier
‘La Cage, ici!’
Edition of 50 standard prints + Edition of 10 Hand Embellished prints
Giclee print on 290gsm paper stock
24×30 inches (61x76cm)
Signed and numbered by the artist
Standard Print: $450
Hand Embellished: $750

Printed by the amazing staff at Static Medium

Hand-Embellished prints will include hand painted acrylic touches and elements of collage added to each print. Only available at the opening reception.

Both editions from Chevrier will be available this Saturday, October 15th from 6-9PM during the opening reception for her new exhibition with us. There are no holds, no pre-orders and no over the phone or internet sales. In-person sales only this Saturday evening. One print per person / couple. Please note we will be monitoring this.


Sean Mahan
‘Rendered Obsolete’
Edition of 30
Giclee print on 290gsm paper stock
12×12 inches (30x30cm)
Signed and numbered by the artist
$60 each

Printed by the amazing staff at Static Medium

Our new edition from Mahan will be available this Saturday, October 15th from 6-9PM during the opening reception for his new exhibition with us. There are no holds, no pre-orders and no over the phone or internet sales. In-person sales only this Saturday evening.

Sandra Chevrier’s First Mural in the United States

A new Sandra Chevrier mural can be spotted in Los Angeles on the corner of Vermont and 25th. This is Sandra’s first mural in the United States and we have to give props to Branded Arts for co-producing this gem with us. Make sure to come by the opening of Sandra’s latest exhibition, The Cages; and the Reading Rooms of their Lives at Thinkspace Gallery this Saturday from 6-9pm.

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A Peak into Audrey Kawasaki’s Studio for ‘Interlude’ Coming in November

One of our most anticipated shows of the season, Audrey Kawasaki’s Interlude, is only a month away! Kawasaki’s stunning work continues to grow with her ethereal girls and dreamy layers. Fortunately, we have a taste of the upcoming show and a peak into her studio courtesy of photographer Jordana Sheara.





The opening reception for Interlude is Saturday, November 12th from 6 to 9pm.

Interview with Sean Mahan for ‘Rendered Problematic’

Sean Mahan Interview

In anticipation for Sean Mahan’s upcoming exhibition Rendered Problematic in Thinkspace Gallery’s project room, we interviewed the artist to discuss his artistic voice, themes of the show, and where he’d go in time.

Check out our interview with Sean Mahan below and attend the opening reception of Rendered Problematic Saturday, October 15th from 6 – 9pm.

SH: What is the inspiration behind Rendered Problematic? What ideas were you exploring during its formation?

SM: I chose the title “rendered problematic” because it was descriptive of both the rendered illustration style and the conceptual ideas I wanted to approach with the show. I was interested in problematizing how our modern environment alienates us from flourishing to our full potential. I’m interested in asking questions about human nature, about what individuates us and what enables us to be sweet and kind to each other. What is shaping our identities and to what extent are they plastic and moveable? I thought a lot about the ideas for the show and the ideas for each painting before considering how they would look. I wanted to experiment with the idea of naming each painting first and then assigning it to myself to be illustrated. It’s a little bit backwards of how I normally work, which is first dealing with the image, the colors, the visual content, which starts to suggest and reveal my feelings toward an idea. But for this show, starting with the idea in full form first and then responding to it visually was sort of like reasoning toward my feelings as opposed to feeling towards my reasoning, if that makes sense. I think painting is a good way to put these two together to give them equal voice.


SH: An artist explores different styles before coming upon their unique artistic voice, how did you develop your voice? When did it click?

SM: I started painting on wood in the early nineties. My dad is an architect and wood worker, so I think that had an influence. I’ve always had an interest in technical drawing which is probably inspired by my dad as well. One of the first jobs in Florida that he had was doing technical illustrations for NASA for the first space shuttle. In his studio he has all these cool blue print drawings of the shuttle and the platforms surrounding it during its construction. I remember using his drafting tools when I was little to try and render my plans for the ultimate skate ramp.

Skateboard graphics from my childhood in the 80’s were also a big stylistic influence. I must have drawn and redrawn all the early Powell graphics ten times over when I was young. Looking back at some of those early skate graphics I can see similarities in how I like to compose a painting with a central subject surrounded by objects encoded with a secret meaning.

There were other influences as well, but I think I settled on the style I’ve been working on after doing several album covers for the post-hardcore band “Twelve Hour Turn” in the early 2000’s. I liked having my art positioned into a context of dissent and social critique. It’s also great to have a soundtrack that accompanies your painting.

SH: Expression is very important in your work, how do you find your faces/emotion? What kind of reference material do you use?

SM: I like to depict a pause in normal thought, an interruption of expectation. I like the way that reflects in facial expression. For this series of paintings I built complex references to paint from; a kind of photo montage that is then carefully painted. I take some photos, find some photos, and take them apart and reassemble them into the image. For example, a face might be built from eyes from one photo, hair from another, nose from another, etc. I’ve always been a fan of the photo montage artists, Linder in particular. The way she took images from how femininity was being portrayed in women’s magazines and how it was being portrayed in men’s magazines and combined them into one troubling image is great. I’m doing something similar to make a reference, but then the final image is painted so the source images become irrelevant to the finished painting.


SH: What’s your creative process? How does a piece go from inspiration to conceptualization, and then final work?

SM: I plan a lot before beginning a painting. I like to assemble ideas and put together a reference. Then I make a drawing on tracing paper and transfer it to be painted. I mix most of the main colors I’ll use and keep them in numbered glass jars. Then, I usually paint one section at a time, start to finish, and at the end add any final colors to pull things together.

SH: What were you listening to while creating this body of work?

SM: I like to listen to lectures on philosophy, critical theory, cognitive science, ethics, etc. I also listened to several classes on cultural studies and political philosophy during this series.

I listen to music some while painting too. While painting this series I listened to some Norwegian/Swedish indie pop like Soda Fountain Rag, Avind, Je Suis Animal, Frida & Ale. I also listened to Spook School, Trust Fund, Color Me Wednesday, My Little Airport, and the record channeled from the mind of Lil’ Bub, that one’s really good.

SH: What is your studio space look like, clean or messy?

SM: My studio space is in my house and it’s organized and very clean. I have a drawing table from my dad’s architecture office in the 60’s and a record player and lots of records.


SH: What do you do with your day/time when taking a break from painting?

SM: I live at the beach in Florida, I grew up surfing and still surf a lot. I like growing papayas. At our house the papaya flowers are pollinated by hummingbird moths, which I love to see each evening. I also really love swimming in the springs. Florida has the highest concentration of freshwater springs anywhere in the world and there are so many beautiful springs nearby.

SH: You’ve shared you’re inspired by the works of Käthe Kollwitz, how did you discover her work? What is your favorite piece by her?

SM: We had a library of art history books in our house growing up. I think that’s where I first saw Käthe Kollwitz’s printmaking. I loved the stark and sad imagery and how there was still a beauty sitting there along side it. I later discovered I wasn’t alone in appreciation of her art as I started to see her prints on hardcore records in the early nineties – like Floodgate and others.

I like to call what I paint “social realism” in the same way she made social realism. There is something sweet in us that persists despite our suffering and alienation and I think she captured that well. I really like her woodcuts “Visit to the Hospital” and “The Widow, I” for example.

SH: What is the significance of the vintage appliances in your work, ie: sewing machine, radios, can opener?

SM: In “rendered problematic” I’m exploring the relationship of the subject and their objects, how we form our identities around objects. We identify with things we own and allow that identity to be shaped for us. There is a mediation in our identity formation, a control and direction imposed. There are also some natural objects in the paintings, like flowers, that are being compromised, suggesting an imposition on flourishing to our full potential. I also like using vintage objects because I’d like to fetishize the obsolete. Kind of like doing an anti-advertisement for anything new to interrupt our compulsion to keep buying and disposing.

For “rendered problematic” I also wanted to present objects in a way so that they become the real subject of the painting. A subject/object reversal of sorts, suggesting how we objectify each other, make each other instrumental, and how we romanticize the objects we buy.

SH: If you could go any place in time and not disrupt current events or future events, just to participate in the world and observe it – where would you go and what would you do?

SM: Maybe go hang out with Carl Sagan. We could go get some vegan boba teas and hang out next to a waterfall and see where the afternoon takes us.

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Interview with Sandra Chevrier for “The Cages; and the Reading Rooms of their Lives”

Sandra Chevrier Interview

In anticipation of the opening of Sandra Chevrier’s exhibition The Cages; and the Reading Rooms of their Lives we interviewed the Montréal based artist to discuss the inspiration behind her work, creative process and what superhero powers she’d want to possess.

Check out our interview with Sandra Chevrier below and come out to the opening of The Cages; and the Reading Rooms of their Lives at Thinkspace Gallery Saturday October 15th from 6 to 9 pm.

SH: What inspired you to explore comic books as a way of communicating themes of identity, of the expectations that are placed on women?
SC: I am often choosing to highlight the fragility of the superhero, their own struggles, and weaknesses, exposing the humanity within the superhuman.
Despite all the playfulness of the thing itself and all the “CRASH BAM POW,” superheroes are also fragile. There is also a certain melancholy in these different faces as if these women experienced a situation that they did not wish. As if they were “slaves.” An offset of American comics, synonymous to entertainment and fun. This is exactly the goal of the series, a daily struggle for us all against that which is imposed by society and the very expectations we impose on ourselves. I keep myself busy in many ways; single mom, business woman, artist, the household, romance, errands. It puts a lot on one’s shoulders. We overwork ourselves. We are all slaves to something, of something.

SH: What specific ideas or themes were you exploring in this latest body of work?
SC: In the greater body of my work, the images used within the ‘cages’ series range from scenes of conflict, triumph, and defeat. This particular body of work i will be showing at ThinkSpace Gallery; gives focus to the numerous emotions a person lives, the stories that makes us who we are in more than only a way and the different sides of our personalities; our strength, our weakness, our power, our light and darkness, hope and dreams, nightmare and tragedies…. and thus within the superhero multiple masks imagery. The words, the onomatopoeia as well as images becomes vehicles for carrying the symbolics or emotions charge of the pieces. We are all more than one story, more than one book, we are a library, a reading room. The sounds almost becomes audible, as if they were bouncing in echo against the portrait; one that hides but also lives the action of the comic books storylines.

SH:  Your work address the dichotomy of strength and fragility that exists within the superhero and self; what defines strength to you and is there strength in fragility?
SC: Superman, when he loses his battle against Doomsday, the image of his red cape tattered planted in the ground as a fallen flag has an intense beauty and incredible power. This is just one example among many others. We are merely human; men and women and we are entitled to the flaws and errors.
We should embrace them, instead of seeing them as weakness.

Sandra Chevrier


SH: If you were a super hero what would be your super power and mission statement?
SC: I’d like to have the power of healing people. Physically and mentally. There’s so much darkness in humans heart and head, the world would be so much beautiful if happiness was more common.

SH: When you paint the comic book scene instead of using the comic book itself in mixed media, do you create the scene from scratch or is it pulled from an existing comic book story?
SC: When I create the mask in mixed media, I will work a lot more by instinct. I go with the image that speaks to me, but when I sketch and then hand paint the comics, I am the one creating the story. I sometimes create new images, will had my own words, will create a different story then the original one.

SH: What is your process like in selecting the scenes you want to portray on the portraits?
SC: I usually go with what the portrait will inspire me. I’ll try to go with certain kind of emotions. Hope, Strength, Courage, Darkness, Despair, Sadness. It helps to choose with what Superhero i will work with. Batman is the incarnation of darkness, just within the colors you can feel it; purple, blue, orange. Superman is the true Super hero, the colors are light and vivid; blue, yellow red….

SH: What are your favorite materials to use?
SC: I’m a big fan of watercolor, I like not having a perfect control. It always surprises me. I just let the colors dance with the water and leave their traces on the paper. I paint with acrylic and also will use pastels, graphite, pencil colors…

Sandra Chevrier


SH: Walks us through a day in the studio?
SC: I start earlier now that my son started school. So I take him there and then my work day Always starts with a coffee. I work in a tiny home studio, people think its crazy for me to still be working in this little space with huge canvases but i have always liked to work home. My brain never really stops working so I like having all my material near in case I decide to work a little in the middle of the night. So…. yes, coffee….and another one and then i like to prepare my backgrounds and let them dry while I sketch or paint. I need to be productive. So that things are always ready when i need them to be. I usually will work for 6-8 hours non stop, maybe drinking a smoothie meanwhile to stay healthy and focused and then i go get my son to school, spend i nice evening with him and then when he is asleep i often will go back to work for a few hours.

SH: What inspires you? What do you do when self-doubt creeps in?
SC: What inspires me; The day to day life tragedies. The small ones and the big ones. I’m lucky to have great people surrounding me, i easily can fall in a dark place and self-doubt and freak out. My agent, that i prefer calling my partner helped me more then once in these situations. Sometimes just talking to someone and remembering why I do it. I feel so lucky to have a passion, i am truly blessed. I love something so much that it makes me dream. I hope my son will be as passionate as I am about something.

Art to me is not only a way of expression, it is a language on its own. I’ve always used it to release my inner demons. I now try to reflect not only my inner vision but find a matter that will speak to a larger audience.

SH: When you’re not painting, what is your favorite thing to do?
SC: I like spending time with my son, going to parks, i also will often take a few days and travel just to get out of my head a little. I also really enjoy clothes; love spending time finding gems in thrift shops, vintage stores. im a crazy collector, so i also enjoy flea markets.

Sandra Chevrier

SH: Describe your artwork in three words –
SC: A Dance of dichotomy

SH: In your work, you address the expectations society places on women through the narrative of superheroes, but what about the inherent expectations we place on ourselves. How does society’s expectations of women breakdown, if women first don’t break down expectations of each other. What truth or thought do you hope people take away from your work?
SC: In past interviews, i often said that it is not just about expectations that society places on our shoulder but also the barriers that we impose on ourselves. We are our worst judge and sometimes our worst enemies. I’ve been so blessed with some people testimony’s regarding how my work inspired them, the best rewards are truly these stories and the time people take to let me know how my Art had an impact on their way to see life and in a certain way I’ve helped them trough my work. A Norwegian polo champion wrote to me last year, telling me about is a personal story. All is life he had been a champion, never failed, then one day he had a big accident with is horse. He taught is life was ending and didn’t know who he was anymore. He saw one of my painting and understood that if Superheros can be fragile sometimes, so do we. As mentioned before; we are human, men and women, and we are entitled to the flaw, the error. He found is courage in my Art.

Also, another incredible testimony would come from a mother who lost her daughter from cancer. She said my painting reminded her of her little girl that fought like a superhero till the end.
Let’s all forget about the standard of our modern communication, the limitations within our world, our self-imposed expectations, and the cages we have allowed to bar us from the fullness of life’s experience.

Sandra Chevrier