Opening Reception of Sarah Joncas & Kelly Vivanco’s “Betwixt and Between” and Scott Listfield’s “1984” Recap

Thank you to all those who made it out to the opening reception of Sarah Joncas and Kelly Vivanco’s latest body of work Betwixt and Between and Scott Listfied’s solo exhibition 1984 in the project room. The gallery was filled throughout the evening with fans, friends, and family all excited for Thinkspace Projects first show of 2018. There are still a few pieces available from each artist, but not many, so check them out soon!

The exhibitions are on view now through January 27th.

 

Interview with Sarah Joncas for “Betwixt and Between”

Thinkspace Projects is pleased to present Betwixt and Between featuring new works new works by Canadian artist Sarah Joncas and Southern Californian artist Kelly Vivanco. Both artists are known for their narrative-based works that embrace the imaginative potential of the subconscious and creatively play with elements of the surreal drawings on feelings of nostalgia whether it be hopeful or melancholy.  In anticipation of the exhibition opening, Saturday, January 6th, our interview with Sarah Joncas shares her love for the anti-hero, dream collaboration, and favorite fable.

Opening reception, Saturday, January 6th from 6 pm to 9 pm. 

SH: How long have you been working on this latest body of work? What themes were you exploring?
SJ: I started working on the pieces for this show last winter. I like two-person shows because I don’t necessarily focus on one specific theme for the body, but feel out ideas as they come, connecting things here or there, but also just welcoming works to being their own thing entirely. I was exploring more of an aesthetic with this work through – more subtle, dreamy backgrounds that further push the graphic elements I’ve slowly been including in my paintings the last few years. I still have imagery focusing around cityscapes, water, animals, and flowers though, touching on urbanism and environmentalist concerns.

SH: The key to a fable is that it teaches you a lesson. What is one of your favorite fables, and have you been able to master the lesson it taught you or do you still struggle?
SJ: I haven’t thought much about fables since I was a kid, to be honest, but I do like ‘The Tortoise and The Hare’. Not just for the obvious cliché of  ‘slow and steady wins the race’, but for that arrogance was the hare’s true flaw… Never expect the world will work it’s way out for you simply because you think you’re fabulous and deserving. Expect an unfiltered reality, that often things often won’t be optimal, but give it your best anyhow! Despite the anxiety of challenges, my life has been much greater because in the end I went for it, even if I wasn’t the best.

SH: What is your favorite part of the creative process? What is your least favorite part?
SJ: My favorite part is painting the face, haha. Too obvious? I don’t know what it is, I love seeing the features come to life and look back at me. Lately, I’ve been really enjoying painting ears as well, strange folds and turns. Everyone’s ears are so unique, you hardly notice until you start painting them. My least favorite is titling the work. I’m just unconfident with words most of the time!

SH: What inspires the environment that you end up building around your composition? Does the subject come first, or the environment that the subject inhabits?
SJ: It differs, though often the figures come first. With the background, I’m usually inspired by my own surroundings. I like painting suburbia and the city, with animal and plant life creeping in, adding surreal touches. One of the works from the show, ‘Sakura’, was inspired by a trip I recently took to Japan. I ended up using photos of buildings and signs I took in Tokyo as refs for the BG. I’d like to do more paintings inspired by my travels to other places as well.

SH: The women you paint have a heroic and cinematic quality to them, what are the values your ideal heroine would possess?
SJ: Heroes generally have the values of being moral, courageous, determined and selfless. These are all great things anyone would like to see in those they look up to, they’d be qualities I’d want in my heroines too. I think the most inspirational quality for me to see in other real-life women is intelligence and kindness though. And when it comes to cinema, gotta admit I love a great anti-heroine! Someone like Lizbeth Salander or Arya Stark, not the typical crowd pleaser type.

SH: When in the studio are you listening to music or podcasts? Can you share what you’ve been listening too?
SJ: I listen to music most of the time, especially film scores. Lately, I’ve been listening to a lot of Max Richter compositions, kind of dramatic and moving. I love all the scores created by Trent Reznor and Atticus Ross for David Fincher’s films, Alexander Desplat, Clint Mansell, Johan Johansson etc. I recently stumbled into music by bands like ‘Cigarettes after Sex’, ‘Rhye’ and ‘Tame Impala’ and find them really great to paint or chill to as well. But no podcasts actually! I should try them out sometime.

SH: How do you continue to challenge yourself as an artist and remain excited about the work you produce, without alienating your collectors and followers?
SJ: I try to change my work slightly with time, follow my heart without jumping too far from my own style. Something gradual and fluid that feels right to me! I also satisfy other painting vibes for myself by doing side work that I’ll put on my shop from time to time. Usually cute things, sometimes more grotesque, but light-hearted and not as serious in time and theme as my gallery works.

SH: Who would you want to collaborate with, dead or alive? The person can be in any area of the arts; film, dance, music, etc.
SJ: Ugh, I’m just in love with director Denis Villeneuve lately. He’s Canadian to boot, and every Canadian loves to see another doing well and creating genuinely great stuff. I couldn’t even see myself doing anything related to his films, but he’s incredible and all of his movies have been inspiring to me.

SH: When not in the studio, what would an ideal day look like?
SJ: I like getting days alone with just my guy, maybe going somewhere out of town for the day, enjoying nature and some good food/drink! Something peaceful and relaxing.

SH: What do you think the role of art / the artist is in society?
SJ: I’m not sure there is one solid role or objective as an artist. A lot of us are just following our hearts and putting it out there, hoping others might connect with it too. We’re trying to put our thoughts, feelings, and sense of beauty into the world, reflect upon it and find catharsis in the process, I think. But also being apart of the audience and enjoying the art that others make – whether it’s music, films, books or visuals – is one of the greatest parts of life, right?

SH: Kicking off the new year with an exhibition is a great way to start 2018! What are your artistic plans for the rest of the year?
SJ: I have a bunch of group shows I’m contributing to throughout the year, and then a larger, 3 person show at Haven Gallery in the Fall. Will probably have about 8 pieces for that and will start them as soon as I’m home from this show’s opening ~

FIRST EXHIBITIONS OF 2018 – SCOTT LISTFIELD “1984”

SCOTT LISTFIELD
1984
January 6, 2018 – January 27, 2018

Opening reception Saturday, January 6th from 6 to 9 pm. 

Concurrently on view in the Thinkspace project room are new works by painter Scott Listfield in 1984. His hyper-realistic oil paintings depict sprawling, sparsely occupied and seemingly unpopulated landscapes, cast with the unease of an ambiguous end of days. A single astronaut appears prominently throughout Listfield’s works, wandering this timeless fugue terrain that feels at once familiar and distant, dreamy and ill-defined, strange, even, in its displaced familiarity. The artist’s works draw from a ScFi inflected imaginary in which nostalgic references to pop culture and quasi-apocalyptic cynicism playfully, if not ominously, collude.

For his new body of work, 1984, Listfield, as the title suggests, invokes the dystopian futurity of Orwell’s 1949 classic, a text which has experienced a recent surge in Amazon sales, perhaps an indication of some collective, self-reflexive admission. This incidental fact piqued the artist’s interest in the current timeliness of the Orwellian nightmare; a vision of surveilled humanity seems somehow less outlandish and far-fetched in our era of simulated falsification and mediated experience. Our culturally dictated über reliance on social media, handheld devices, and virtual platforms, all in service of some feigned human connectivity, are forged through a bizarre consensual voyeurism – not such a far cry from Big Brother’s omniscience after all.

These new works include bright saturated visions inspired by a stylized 1980s Los Angeles, hedged by a requisite amount of Listfield’s dystopian edge and barbed wire. The artist’s own 1980s childhood memories inform the paintings, as does the culturally produced aesthetic nostalgia for the decade, evidenced in recent television shows and style trends. Producing a pastiche of time and place, Listfield taps into the misleading anachronisms of memory, and nostalgia’s power of stylization, not to mention the strange ways in which our versions of the past may in fact tell us more about our conditions in the present.

SARAH JONCAS & KELLY VIVANCO “BETWIXT AND BETWEEN”

SARAH JONCAS & KELLY VIVANCO
BETWIXT AND BETWEEN
January 6, 2018 – January 27, 2018

Opening reception Saturday, January 6th from 6 to 9 pm. 

Thinkspace is pleased to present new works by Canadian artist Sarah Joncas and Southern Californian artist Kelly Vivanco in Betwixt and Between. An exhibition about the creative potential of unscripted spaces and the generative possibility of in-betweens, Joncas and Vivanco, forego the limits of the aphoristic for the contiguous freedom of the fable. Both create narrative-based works that embrace the ambiguity and imaginative potential of the subconscious. Creatively playful with elements of the surreal, they capture a feeling of melancholia and aesthetic nostalgia in their styles, Joncas with her cinematic invocation of neo-noir film and Vivanco with imagery influenced by classic fairytales and vintage illustration. Fundamentally, both artists’ work offers an intrinsic pleasure in viewing and the kind of escapism possible only in worlds that lie beyond rationally dictated limits.

Toronto-based Sarah Joncas first exhibited with the gallery in 2009 when only 19 years old. Since then, her accomplished work has developed technically and conceptually, garnering international attention for its moody stylization and emotive impact. Her portrait-based paintings focus primarily on female subjects that function as alter egos or symbolic avatars for social, psychological, and personal themes. The figurative becomes a vehicle for more existential and constructivist emphases, an armature around which to posit narrative suggestions and symbolic inferences. Always striving to create a moment of discomposure or tension in her works, Joncas aestheticizes with melancholy and melodrama, tapping into an emotionally charged visual spectrum.

Joncas began her art career intending to pursue illustration and animation, directions that clearly still inform the visual diction of her current work. Highly refined areas of figurative rendering, like the lush skin tones she achieves with oils, are combined with elements of a more graphic sensibility, executed in acrylics, to establish compelling visual tensions between realistic dimensional space and flattened stylization. An early interest in animé and manga, as well as in those neo-noir cinematic references aforementioned, helped to galvanize Joncas’ interest in character-based works. Often posited in heightened emotional contexts, her protagonists are framed by suspenseful allusions to an overarching story or caught in the midst of ambiguous or invisible unfolding scenes. This penchant for plot, mystery, and symbolism is captured in moments of dynamic stillness in which action is both suggested and seized. The surrounding elements in her works, whether animals, objects or patterns, take on concomitant meanings, further reinforcing the larger thematic intimations of her works.

Based in Escondido, California, Kelly Vivanco’s depicted world is one of fantastical tall tales and mysterious encounters. Not unlike the magical wardrobe of C.S. Lewis’ Chronicles of Narnia or Lewis Carroll’s Alice and her rabbit hole or fugitive fleet through the looking glass, Vivanco’s paintings themselves are thresholds. Each is an aperture into an alternate world of enigmatic episodes and apocryphal creatures, at times beatific and at others unsettlingly sinister; these storied landscapes and characters are more brooding and mysterious than flippantly whimsical. Playful and nostalgic, however, her works are far from sentimental or honeyed. Like the best fairy tales and all of their allegorical apologues, a darkness lurks in the beauty of their imaginative distortions and hyperboles.

The subconscious undeniably shapes Vivanco’s images. By exploring her figurative subjects through surreal shifts in scale and shadowy casts of mood and light, her paintings feel like their drawn from the recesses of dream. Psychologically inflected, the depictions of her characters range from the lighthearted to the more somber and foreboding. Vivanco works primarily in acrylic on panel and canvas, and her stylized hand is immediately recognizable, as is her signature palette of muted and darkened vintage-inspired colors. The speculative scenes she stages remain slightly intangible; we are given moments from a more substantial story that is then left to our imaginative work to unfold. The mystery lingers in these captures, as little is explicitly unraveled but rather implied. In addition to her fine art practice, Vivanco has been commissioned to illustrate children’s books, including Snow White and the Red Rose in 2014 and her second, Thumbelina, in 2016.

Both Joncas and Vivanco, though distinctly different in their unique styles, share an interest in the tangential work of the subconscious and all of its surreal textures and, potential, looking to the symbolism of the strange and relinquishing control of these mysterious spaces to the unscripted nature of its “in-betweens.” The ambiguity of their worlds is one in which enigmatic encounters remain partially unseen, and the suspenseful irresolution of the unknown lingers; whether through allegory or avatar, both Joncas and Vivanco look to the openings rather than the seams.

 

Opening Night of DALEK (AKA James Marshall) “The Return of the Space Monkey”

Thank you to all that came out to support our big show from DALEK (aka James Marshall). The Return of the Space Monkey has been a big hit so far and this coming Tuesday through Saturday are your final days to catch this special exhibition in person.

Some great works are still on hand and all original drawings are framed and ready to hang in an array of bright primary colors.

New screen print editions from DALEK will be shared online via our new web shop in late January. Watch for further details to be shared soon.

THANK YOU FOR THE MEMORIES SCOPE 2017!

Thank you to everyone that came through our booth with SCOPE this past week in Miami during Art Basel. Was so nice to reconnect with past patrons and to meet so many new fans of our space and program.

A big round of applause goes out to the entire staff of SCOPE on another stellar year on Miami Beach. Many thanks as well to all our exhibiting artists for delivering such beautiful and meaningful works.

Kudos are due to both James Bullough and Michael Reeder who SOLD OUT their solo shows at our booth during the fair. We can not wait until our solo shows with both incredible talents here in LA in 2018/2019. More details on those two highly anticipated exhibitions shared soon.

Excited to share that we placed over 70 original works of art this past week in Miami, a great many to new patrons. A simply incredible week to say the least and we can not thank you all enough for your support.

Just wait until you see what we have in store for 2018. Have a safe and happy holiday season everyone!

– Andrew Hosner
Co-Owner / Curator

Matthew Grabelsky Creates the Cover Art for Moby’s New Album “Everything Was Beautiful, And Nothing Hurt”

We’re so excited to share the announcement for Moby’s new album,  Everything Was Beautiful, And Nothing Hurt because Thinkspace Family artist Matthew Grabelsky was commissioned to do the album art. The new album from Moby features on the cover Grabelsky’s signature father and child on the subway composition, with the title of the album, reflected on the book the young calf is reading.

Visit Rolling Stone’s website for the full album announcement, and the Thinkspace Projects to view more works by Matthew Grabelsky.

Last year, Thinkspace Family artist Kevin Peterson was the album artist for Red Hot Chili Peppers Getaway. 

Music and art, they go together like the sun and the moon.