We’re excited to announce that Telmo Miel’s “Lost and Not Found” exhibition at the Fullerton Museum Center has been extended to November 27th. The exhibition displays new work by the Netherland duo and a site-specific mural. To view all the work on online, you can visit the Thinkspace Gallery website here.
Thinkspace curator Andrew Hosner headed out to Las Vegas last weekend to check out the murals at Life Is Beautiful. The mural element of the music and art festival was curated by our friends over at Just Kids and a few of the Thinkspace family were invited to participate. Bezt, Dulk, and Martin Whatson blessed the buildings of Las Vegas with colorful fun new pieces.
An art adventure for Hosner would not be complete without exploring some abandoned buildings. Here are some other stops on his Vegas adventure.
Also on view for the next two years, just outside Las Vegas ‘Seven Magic Mountains’ by Ugo Rondinone is a must see.
The Long Beach Museum of Art was featured on Good Day LA’s segment Behind Closed Doors where Vitality & Verve : In The Third Dimension is the featured exhibition. Vitality & Verve: In The Third Dimension is currently on view until October 16th, to view all the available pieces from the show click here.
Thank you to our friends at Juxtapoz for featuring Allison Sommers’s latest exhibition “Bruxism”. The show is on view until October 8th and you can view all available artwork from Sommers here.
We are exctied about this one, seeing that this looks like some of Allison’s strongerst works to date. Thinkspace is pleased to present Bruxism, a solo exhibition of new works by Brooklyn-based artist Allison Sommers. In her sixth exhibition with the gallery, Sommers presents new mixed-media works that veer increasingly towards an expressionistic abstraction of the figurative – Juxtapoz
October 15 – November 5, 2016
Concurrently on view in the Thinkspace project room is Rendered Problematic, featuring new works by Sean Mahan. A mixed media painter from Florida, Mahan creates soft and subtle figurative works in graphite and acrylic washes on wood panel. A cultivated nostalgia persists in his paintings, as shadowy images of picturesque and serene children in light pastel and vintage palettes handle records, dated appliances, and classic sewing machines. The wood grain is preserved with a quality of transparency throughout, adding a dimension of warmth and organic variance to the works.
Mahan’s aesthetic conveys a human innocence and captures a strange sweetness, creating a feeling of quietude. His portraits convey an ambiguity of time and place; it’s a world of analog hand making and pre-digital youth, one of childhood simplicity unmarred by adult disillusionment. The consumption, impermanence, and disposable quality of modern culture is far from these idyllic scenes of contemplative pause.
The object figures prominently as both an implement and subject in his imagery, suggesting its primary role in the formation of identity. His works celebrate the outdated and obsolete by representing older technologies, objects, and cultural ideals in an attempt to interrupt the alienating, and dominant, momentums of discard and overuse.
Despite this seemingly idyllic staging in each piece, its stylized omissions point to a more complex set of issues. Mahan is interested in the formation of identity in normative culture, and the reductive imperatives that circumscribe it. Absent are any indications of that prescriptive outside world in his works. The subjects themselves are independent, suspended in an immaterial environment and displaced within the panel in the absence of defined physical space. This spatial ambiguity and sparsity contribute to a feeling of melancholy throughout, as though the images themselves offer an impossible beauty.