POW! WOW! Long Beach and Thinkspace Projects present “Movement”

Thinkspace and POW! WOW! Long Beach present: “MOVEMENT”
Curated by Thinkspace
Made possible thanks to: HEX and BEVEL

Opening Reception:
Sunday, July 21 from 6 to 10 PM

Taking Place At:
327 Pine AvenueLong Beach, CA 90802
*Entry through the Pharmacy Boardshop
Open To View Monday through Saturday from noon to 5 PM
* Check out our socials for regular nightly events too

Pow! Wow! Long Beach will feature a site-specific mural from CRASH ONE and installations from Balloonski and Spenser Little. Alongside a group show with works from over 45 artists:

Alex Garant
Alex Yanes
Alvaro Naddeo
Amy Sol
Brian Viveros
Casey Weldon
Cinta Vidal
Dina Saadi
Drew Merritt
Fintan Magee
Hilda Palafox (aka Poni)
Huntz Liu
Jaime Molina
Jason Keam
Jasper Wong
Jolene Lai
Lauren YS
Leon Keer
Low Bros
Mark Dean Veca
Max Sansing
Mina Hamada
Mwanel Pierre-Louis
Perez Bros
Scott Listfield
Spenser Little
Steve Martinez
Super A
Telmo Miel
Tran Nguyen
Yoskay Yamamoto
Yosuke Ueno

Interview with Kathy Ager for “Golden Age” opening June 29th

Thinkspace is pleased to present Vancouver-based artist Kathy Ager’s debut solo exhibition Golden Age. Ager creates detailed, still lifes that feel simultaneously Baroque and acerbically modern. Inspired by the 17th-Century Golden Age of Dutch and Spanish painting, her imagery uses historical visual rhetoric to deliver intensely personal and emotively charged themes. A professional graphic designer-turned painter, this is Ager’s first complete body of work to date and will include ten new paintings.

In anticipation of Golden Age our interview with Kathy Ager discusses her artistic background, creative process, and desired love interest in a movie about her life.

SH: For those that are not familiar with you and your work, can you give us a brief look at your artistic background and zodiac sign? 

KA: I haven’t been at it for long – I’m a late bloomer for sure! I’m originally a graphic designer from Vancouver BC, focussing mainly on corporate branding. I still like working as a designer but there came a point where I felt I had more to say and was frustrated by the limits of graphic design. I’d been living in Amsterdam for a few years and found myself feeling sick and lonely and far from home. That’s when I picked up painting for the first time since design school. I’d always been drawn to painting and creating in general, but this was the first time I started finding my own voice. I’d work on paintings in my spare time between freelance design work, making only a couple of paintings a year. Things really started rolling when I dropped myself into Lisbon for a couple of months, just to see how it would feel. It was the first time I’d showed up in a new place as an artist, not a graphic designer. I met some amazing artists who became the first champions of my work. I’m not sure if I’d have had the strength to keep going with it if it wasn’t for that experience. Life in Amsterdam had become a lonely struggle for me and painting became my life raft. Sometimes I felt it was all I had, but it felt powerful and super satisfying being able to evoke something in others through the images I’d create, inspired by my loneliness, heartache, music, books, and my endless curiosity for love and life and truth.

Did I mention I’m a Sagittarius? Apparently, we’re forever seeking adventure and the truth. Honesty above all else! In my paintings, I lay it all out there, just like I do with those who know me. I’m not comfortable unless I can truly talk about how I feel. I want people to be in on my life and I want to be in on theirs. There’ve been stretches in my life where I’ve felt like an astronaut floating in space, so far out there but not sure how to get back, and maybe this vulnerability and honesty is how I anchor myself in this universe and connect to others. My paintings have become a powerful way to do that.

SH: How do you approach starting a new body of work? What inspired this exhibition?

KA: This is the first coherent body of work I’ve produced. In the last couple of years, I’ve established a visual language and a few key elements that felt good to me. While working on these latest paintings I was able to keep that language consistent while drawing in elements from my own life and those from traditional still life paintings. I’m always amazed by how objects can be used to express such human emotions. I’ve been inspired directly by my personal life – especially love and heartbreak and the loneliness in between – and the need to grasp onto something solid in this transient world.

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.

KA: Definitely, the most challenging piece for me was ‘An Immovable Feast’. It’s the largest piece in the exhibition and also the last piece I completed. All of my paintings are deeply personal, so working on each painting means facing those feelings for as long as it takes to complete that painting. The size of this one felt like three paintings in one and felt like the final painting addressing some lingering heartache that inspired quite a lot of my current work. I didn’t feel up to the task. I’m amazed that I was able to push through a lot of self-doubt and shifts in my personal life and still create something I’m proud of. I definitely needed some encouragement from friends who stopped me from setting it on fire or throwing it out the window. LOL!

SH: What excites you about your work / creative process?

KA: I get such a kick out of what I do. I feel so deeply and to be able to translate that into something visually powerful has been transformative. It’s like solving a problem. If the solution makes me laugh out loud while also strumming just the right chord in me, I know I got it right. 

SH: What frustrates you about your work / the creative process?

KA: It’s solitary work. I need to hear myself think and that happens best when I’m alone, doing nothing. Which is hard since my inspiration comes from the opposite – it comes from going deep with people and life. And the production phase is especially a solitary endeavor, sitting for hours, days, weeks in the studio. It’s not glamorous. It’s been the biggest challenge for me for sure. My need for connection is strong, so I’ve been learning how to ensure I’m getting what I need while maintaining my creative process. Returning to Vancouver after living in Europe for 9 years has been a huge help.

SH: If you could make the album art for any album, existing or yet to be released, what album or artists would it be for and why? 

KA: A Drake album! Damn, it would be a dream. I love how he goes so deep and dark and is so open with his insecurities and his search to understand the actions of himself and others. When Scorpion came out, it was a hot summer in Amsterdam. There you’re so far north, the daylight lingers until almost midnight. I’d sit in my apartment in the heat, in that deep blue light of the night, and listen to this album. Oof. What a time. I’d love to create something for that depth and darkness and glory. 

SH: If your body of work inspired an ice cream flavor, what would it be called and what are the ingredients?

KA: I love the idea of something like ‘Peaches N Cream’. Like my work, it takes things that are seemingly innocent, but the implication of their combination can be twisted into something much more provocative. 

SH: A Netflix movie is being made about your life, who would be cast to play you and what kind of movie would it be? Try to describe it with similar movies. 

KA:  I’d be lying if I said this scenario hadn’t crossed my mind before. First off, I’m not great at following celebrity actors, so I’d love a new, break through actor to play me (although Ryan Gosling would definitely be welcome to play a love interest). In terms of what kind of movie it would be, I’d say the running themes and significant moments in my life have been the search for love and adventure, the beautifully lonely self-discovery of travel, days and nights with friends and lovers that made me nostalgic for the moments while I was still in them. And underlying it all, a deep feeling of loss and fear and sadness that makes it all so scary and painful. And yet I’m forever drawn by my curiosity to go for it all, just to know how it feels. Imagine a combination of Eternal Sunshine of the Spotless Mind, Vicky Cristina Barcelona, Before Sunrise, Skate Kitchen, Lost in Translation. Midnight skates in the heat of Barcelona, the sparkle of beaches on the Costa Brava, the wide open spaces of Northern California. It would be a fucking trip for sure.

SH: What do you think the role of artists is in society? How does other artwork inform how you move through life?

KA: I think the artist’s role is to be evocative. I get so much inspiration and power from music and books and I think that’s true for all art forms. Making something physical out of feelings and ideas and putting them back out into the world creates the beauty, both light and dark, in the world. 

SH: Favorite way to celebrate the completion of a project/body of work? 

KA: Since this is the first body of work I’ve completed, it was quite emotional. I’m still learning to let myself loose after so much focus and dedication and have been lucky to have some great friends around for support and guidance (and some damn good laughs and adventures 😉

Join us for the opening reception of Kathy Ager’s Golden Age, Saturday, June 29th from 6 – 9 pm.

Jacub Gagnon’s “Dream World” opens June 29th.

June 29 – July 20, 2019

(Los Angeles, CA) – Thinkspace is pleased to present new works by Canadian, Toronto-based artist Jacub Gagnon in Dream World. An artist known for the meticulous detail and realism of his luminous acrylic paintings, Gagnon creates a world in which nature and fantasy collide. Exploring unlikely combinations of flora and fauna in imaginative scenarios with human objects and props, Gagnon proposes playful, though symbolic amalgams, reminding us of the ultimate fragility of the balances sustaining the natural world. His works are often set against dark black or stark white backgrounds and deploy contrasting light and dark hues to significant effect. By using minute brushes, Gagnon’s surfaces have an illustrative clarity and precision, while the imagery’s technical realism, usually shrouded in contexts of black, negative space, contributes to the surreal impact of these poetic visual puns.

With an interest in play and the freedom of the absurd, Gagnon creates imagistic connections to explore the intersection of human and natural elements. These ideas of interconnectivity and associative interpretation are vital to the artist’s philosophical approach. By connecting unlikely and disparate parts, new readings, possibilities, and realizations are woven and drawn from known elements, more often than not desensitized in our acclimated reception of the familiar. Gagnon revitalizes our reading of nature and inspires us to look again – stirring a sense of wonder in this temporary suspension of disbelief. The natural world is cast in artificial light and pushed to the point of the implausibly surreal.

Narrative plays a significant role in Gagnon’s work, as he is often drawing inspiration from language, turns of phrase, and puns to visualize the latency of new meanings and associations – a natural world freed from the restrictions of natural law produces unlikely poetry. In this space of disconnection and re-imagination, the artist proposes new morphologies, collusions, losses, and fictions in an endlessly potentiate space of transformation and renewal.

Rodrigo Luff’s “Afterglow” opens Saturday, June 29th.

June 29 – July 20, 2019

(Los Angeles, CA) – Thinkspace is pleased to present new paintings and works on paper by Rodrigo Luff in Afterglow, the artist’s fourth solo exhibition with the gallery to date. Luff’s personally inflected figurative works blend realism and fantasy, recombining the edges of the probable with the incandescence of daydream. Expressing the imagined and impossible through the contours of a physically plausible world, Luff stages ambiguous borders between the spiritual and material, allowing the internal and emotive external expression through nature. This tension between the manifest and invisible haunts Luff’s intensely contrasting and vibrantly hued imagery, while a state of perpetual atmospheric dusk hosts these ghostly apparitions, both human and animal, hemmed by the fiction of otherworldly light. With edges cast in acidic, dayglow gleam, Luff levitates their edges in buoyant, fluorescent halos.

Luff’s fluorescent fairytales feature dryadic women surrounded by woodland creatures, mystic owls, and sentient birds; their powerful animateness and knowing conveyed through the chiaroscuro intensity of the work – as though the imagery itself is emanating from some ultimate interior. The light feels immaterial and increasingly hallucinatory as the works seem to burst forth from beneath. Through dynamic compositions that seem within moments of action and revelation, the artist keeps the viewer suspended in this trance of potential. With dreamy scenarios and suggestive harmonizations – the artist has often likened his process to musical composition in its balance of individual parts unified cohesively in the impression of the whole – this Narnian world powerfully channels metaphor and the stirrings of spiritual transcendence.

Luff is inspired by diverse influences, which he has synthesized into his unique aesthetic. Everything from the anime master Miyazaki and the romance of the Pre Raphaelites and their oil glazing techniques, to the otherworldly cast and contrast of the aurora borealis and the ornate art nouveau stylization of Alphonse Mucha, are cited among Luff’s sources. He has taken these inspirations and combined them into a romantically modern universe with moments of dissonance, sorrow, melancholy, and transportive nostalgia.

Kathy Ager’s “Golden Age” opens June 29th

June 29 – July 20, 2019

Thinkspace is pleased to present Golden Age, featuring new works by Kathy Ager in the project room; the Vancouver-based artist’s debut solo exhibition. Ager creates detailed, still lifes that feel simultaneously Baroque and acerbically modern. Inspired by the 17th-Century Golden Age of Dutch and Spanish painting, her imagery uses historical visual rhetoric to deliver intensely personal and emotively charged themes. A professional graphic designer-turned painter, this is Ager’s first complete body of work to date and will include ten new paintings.

Ager begins her process with language – an idea or expression often gleaned from music, a book, or some other source that resonates personally. She then endeavors to resolve the concept visually through objects and composition, assembling a patchwork of references – some collective and shared from pop culture, others steeped in the idiosyncrasies of the personal. Both poetic and revelatory, Ager’s works feel charged with the simultaneous misery and beauty of contemporary appropriation – and express the current world through the formal repositories of the past to create anachronistic moments of resonance and delivery. Ever present amidst moments of undeniably expressed disappointment and disillusionment are redemptive linings, beautifully poignant discoveries, and playful, irreverent mirth.

The seductive darkness with which Ager reveals universal human longings is both disarming and consuming. Broken hearts are offered up as organs in a bowl, skeletal memento mori abound, and dating feels about as abject in the modern world as butchery; books are stacked with suggestive spines, and flowers wither while fruit threatens to decay. The abattoir is never far from the transcendent ambitions of classical statuary in Ager’s world, while beauty is embroiled in the vulnerability of intimacy and self-exposure.