We’re anxiously awaiting Michael Reeder’s mOMENt opening April 7th, and the peaks into his studio via social media are only building the excitement. 


Brian Mashburn
“Origin Stories”
April 7, 2018 – April 28, 2018

Thinkspace (Los Angeles) – is pleased to present new works by North Carolina-based painter Brian Mashburn in his main gallery debut, Origin Stories. The artist’s meticulously detailed works depict quasi-post-apocalyptic scenes in which the natural and human worlds coexist uncomfortably, the remnants of human industrial development haunting the perimeter of the landscapes it has exploited to stage its expansion. Human beings are conspicuously absent from these works but loom invisibly in architectural vestiges, abandoned monuments, and other harbingers of imperfect progress. In this new body of work, Mashburn’s imagery continues to explore his interest in the natural sciences, canonical philosophy, and history, incorporating subtle references to studied and observed themes. Looking to both the cultural and personal narratives that shape our sense of belonging and ancestry, Mashburn offers a nuanced rumination on the poetic power, and fallibility, of antecedents.

Mashburn’s landscapes conjure elements of a 19th-Century Gothic romanticism, offset by contemporary hyperrealistic rendering and surreal contextual juxtapositions. The worlds he posits are densely clouded, overburdened with skeletal trees, and heavy with fog, while anchored by baneful mountain edges and dramatic craggy peaks. These stylistic mainstays of Mashburn’s landscapes are exaggerated and unspecific; like malefic augurs, they cling to something vaguely familiar but petition enough strangeness to elicit phobic dread. Barren and full, the works prophesize a state of exhausted depletion, where nature’s resilience and the effects of unchecked human hubris stand still in an uneasy moment of detente.

The fog-laden vistas for which Mashburn is known are inspired by both the Appalachian Smokey Mountains of Asheville North Carolina, where the artist resides, and his extensive travels throughout the densely overpopulated and polluted areas of Southeastern China where the atmospheric cast is thick with smog. Inspired by his American-Asian heritage, Mashburn incorporates loose stylistic references to historical Chinese ink wash painting, crediting his meticulous work ethic to early scholastic experiences in Chinese character classes. An aggregate of nebulous influences, his works are drawn from this personal heritage, daily observations, an interest in critical theory, and the recent ubiquity of ominous politics and doomsday news. His dystopian landscapes border on the allegorical and suggest a post-cultural world in which eroded edges have failed to contain the entropic threat of chaos.

Technically impressive, Mashburn’s works are composed and minutely detailed. Obsessed with the optics of close proximity, the works hold tight even when examined with little to no distance, unlike more gestural styles that tend to loosen when viewed up close. Working on several pieces in tandem at any given time, the artist achieves the density and surface quality through the application of multiple layers of oil, each sediment dried before the accretion of the next.
Expertly controlled, the works are held together by this burden of detail, an ironic counterpoint to the thematic deterioration they capture.

In an era of rampant and environmentally untenable growth – one that attests to a profusion of consumption and use that now seems in overt defiance of any over worn and anachronistic ideal of ‘progress’ – Mashburn’s Origin Stories looks to the source of beginnings from the vantage point of ends.


April 7, 2018 – April 28, 2018

Concurrently on view in the Thinkspace project room are new works by Texan-born, Los Angeles-based artist Michael Reeder in mOMENt. A contemporary portraitist who uses figurative distortions and symbolic dislocations as a vehicle for the expression and examination of identity, Reeder’s controlled chaos is as evocative as it is strategically unsettling. Looking to the depiction of the figure as an exteriorization of the internal self, Reeder’s graphic and stylized works oscillate between moments of reduction and surplus.

The artist’s imagery is loose enough to encourage projection and tight enough to direct association by tapping into the subconscious, and its surreal recesses, as a limitless visual resource. By recreating a single subject multiple times, Reeder discovered the poetic potential in seriality and the subtlety of incremental difference: each iteration of the same producing profoundly different results.

Moving from flat graphic expanses of space and patterning to more realistically rendered areas, the portrait is positioned as a dynamic, shifting entity, a composite of competing forces colonized by often conflicting imperatives from the realms of the personal, political, and social. As something finite and circumscribed, the figure just like the self is, nonetheless, undeniably infinite as a locus of unwritten potential.

Opening Reception of Amy Sol’s “Bird of Flux” and Liz Brizzi’s “Tokyo”

The opening reception of Amy Sol’s “Bird of Flux” and Liz Brizz’s “Tokyo” was filled with fans of the artists throughout the evening. A few collectors were surprised and delighted to be able to secure their own original during the reception, and both exhibitions are nearly sold out.

The exhibition is open now through March 24th, gallery hours noon to 6 pm, Tuesday through Thursday.

View available pieces from Amy Sol’s “Bird of Flux” here.

View available pieces from Liz Brizzi’s “Tokyo” here.


Interview with Liz Brizzi for “Tokyo”

Thinkspace Projects is pleased to present Liz Brizzi’s solo exhibition, Tokyo. The exhibition features new mixed media pieces that explore the streets of Japan. Tokyo was well received during the opening, with only a few pieces from the exhibition still available. Our interview with Liz Brizzi discusses her decision to use Tokyo as her source of inspiration, the hunt for reference material, and a perfect day outside the studio.

SH: How long have you been working on this latest body of work? What themes were you exploring?
LB: It all started back in October with a 5 day trip to Tokyo. When Thinkspace contacted me about doing a show, I was in a bit of a rut as far as inspiration goes. I very quickly decided to go back to Japan where I had previously found what seemed like a bottomless pit of creative inspiration in the past. It was just me and my camera. 5 days aimlessly roaming Tokyo, shooting all its nooks and crannies. When I got home, I was ready and excited to get to work. My themes are always urban landscapes, cities, travel, architecture and ambient moods.

SH: When did you visit Japan? How long did you stay there? And what inspired you most about the country?
I first went to Japan back in 2013 for about two weeks. I fell in love. So this was a repeat trip. But this time I focused on Tokyo entirely. It was just 5 days. I wish I could have gone for more but you know… life. It was amazing to go by myself, with no precise plans. I walked miles and miles every day. Just wandering off alleys, getting off at random train stations, and exploring wherever my guts guided me to. I did run into a major Typhoon while there. So it rained quite a bit. But I loved it. It gave my photos such a great moody atmosphere; reflections in the water on the sidewalks and the sea of locals hidden under colorful umbrellas. I didn’t mind at all. I love how busy the streets are, all the shapes created by the architecture, it’s negative space, all the lines from the electrical poles, all the colors from the lanterns, the street lights and the sky peeking through between the buildings. I love the mix of old and new everywhere you go. I love how everything is thoughtfully designed. I love the people most I think. I have a huge admiration for their way of life, philosophy, and outlook on their environment.

SH: Do you go out actively searching for subjects of your composition, or are you always searching – ready to snap?
LB: Both. I often find myself screeching my car to a stop somewhere because I saw a sign, or an alley, or a building that is graphically interesting. I have a photo file called “Randoms”. Sometimes I go digging through that and will get inspired. But most often, I will take photo safaris to specific places. Mostly I get my best work from my travels. Every time I go somewhere new in the world, I’ll make sure I take some time to specifically go on one of those photo safaris, dedicated to finding all the “good stuff”.

SH: What is your favorite and least favorite part of the creative process? How long does it take to complete a piece?
LB: Well, my least favorite part is staring at a blank canvas wondering what I’m going to do with it. It happens more than I care to admit. I get anxiety… Then in some cases, I’ll dig through my photographs forever before I actually start seeing imagery in my head that I think is worthwhile. But my favorite part is actually seeing that imagery comes to life when it finally happens. When I find all the right elements to bring it all together into one image. Finding the little details that will make an image otherwise boring, interesting. I also love playing around with color.

SH: Which piece in this show was the most challenging and why?
LB: I think maybe “Shibuya”. Night scenes are tough because of their high contrast.

SH: When not in the studio what does your ideal day look like?
LB: Well… in an ideal life, I would be traveling every day of my life. But in my current life, an ideal day involves quality time with my son, a good couple of hours reading a great book in total silence, three REALLY good meals, and finally getting out of the house for dinner and wine with my friends before ending it with some Netflix on the couch under a big blanket.

SH: If you were to have a dinner party, which 5 people would you invite (dead or alive)? What would be on the menu? And what is the one question you’d ask from everyone?
LB: Woah. That’s a hard one. Honestly, this is the type of question that will take me a week to answer because I’m going to think about it way too much. The menu would probably involve a lot of Japanese food though. That was easy.

SH: When you’re painting are you listening to music or podcasts? Can you share what you were listening to while developing this body of work?
LB: Mostly music. I’m big on Pandora because this day and age of digital everything has gotten me all lost as far as what to listen to. There’s too much in my iTunes library. I don’t even know where to start. And I can never remember who sings what. I’m kind of a weirdo when it comes to music. But on Pandora, I can just say “play stuff in that style that I feel like listening to right this moment”, and they do. So that’s good enough for me. And when I paint is actually when I listen to music. But on a regular day, I’ve become a huge fan of silence. It’s really underrated. I like podcasts when I’m driving. Takes my mind off LA Traffic.

SH: Who have been one the most influential people in your artistic development? Have they shared any advice with you other artists can apply to their work or journey?
LB: Honestly, I can’t really point to one person in particular. There are lots of artists I highly admire who have been very inspiring. Andrew Hem for his incredible colors. John Park and Ian McQue who are incredible environment concept artists with a very graphic and colorful style (concept art is a field I would have loved to get into). Brett Amory for his use of lights and darks. Robert Mars’ collage mixed media work. Ambroise Tezenas for his photography. Etam Cru for basically everything that they ever do. And if there’s one piece of advice I like to share, it’s to let yourself be inspired by other artists, maybe imitate at first but only to learn from them. Then take what you’ve learned and let it grow into your own unique style and imagery, put your own twist on it and let your creativity flow.


Thinkspace is closed this week for the install of Amy Sol’s solo exhibition “Bird of Flux” and we’re in love with the new works, in addition to Amy’s inspired exploration of sculptures for the show.

“I took my first deep dive into sculpting for this exhibition! It was a challenge, I learned a lot! looking forward to exploring 3D realms into the future.. so many possibilities 🔮” – Amy Sol’s Instagram 

Join us for the opening reception of “Bird of Flux” this Saturday, March 3 from 6 – 9pm.

Thinkspace Projects
6009 Washington Blvd.
Culver City, CA


March 3, 2018 – March 24, 2018

Concurrently on view in the Thinkspace project room is Tokyo, featuring new works by French-born, Los Angeles-based artist Liz Brizzi. Known for her evocative mixed-media works on panel, Brizzi is drawn to derelict spaces and forgotten city recesses. An avid urban explorer constantly in search of abandoned relics and trace history, her works begin with in-depth photo documentation and physical exploration. Among her favorite destinations and recurring visual resources are LA’s Downtown core and endless suburban outskirts, in all their surprisingly beautiful imperfection. In her second solo exhibition with Thinkspace, Brizzi has traveled to Tokyo, Japan, transforming its urban textures into beautifully saturated and surreal composites.

In search of an imperfect peace, Brizzi’s works are thoughtful and meditative, spun from quiet observation and creative reconstitution. She is always in search of the redemptive presence of histories, particularly those found in unlikely seclusions or empirically ‘unbeautiful’ places. This profound feeling of excavation persists throughout her work, conveyed visually through their mysterious pause, like an active seeking and uncovering. The poetic suggestions of isolation and philosophical loneliness are palpable somehow, in spite of Brizzi’s lush choice of palettes and highly pigmented rendering choices. Devoid of human subjects, her works focus on the remnants of human intervention, preferring instead to capture their relics and remains in the structures and delinquent architectures.

Her works begin with the photography she’s taken throughout the course of her urban excursions and international travels. Select images, or fragments, are then transferred to panel and painted into and over with multiple layers of diffuse acrylic pigment. The effect is surreal, otherworldly, and somehow closer to the real than the real itself, charged in part with the sensory impact of memory. At times, her compositions are direct representations of actual existing places and scenes, and at others, surreal composites assembled from splinters of several different places, moments, and observations. Though fundamentally familiar, once transformed by Brizzi, industrial urban vestiges, mundane cityscapes, and unassuming architectures become uncannily beautiful visual arrests.