NEW PRINT EDITION THIS FRIDAY FROM KEVIN PETERSON

This Friday we are honored to share a new print edition from Kevin Peterson (Houston, Texas). “Bella” was featured in our sold out London solo exhibition with Peterson this past October as part of Moniker Art Fair.
KEVIN PETERSON

Bella
18×19.5 inches / 45.7×49.5 cm
Edition of 200
Hand signed and numbered by the artist
$200

Available this Friday, July 13 at 10 AM Pacific Time via our shop:

https://shop.thinkspaceprojects.com

 

NEW CONTEMPORARY ART FEELING THE SUMMER VIBES

Low Bros – “#offtheline”

It’s the summer solstice so we went through our inventory and are highlighting pieces that have some major summer vibes.

Please reach out to contact@thinkspaceprojects.com or
call the gallery at (310) 558 – 3375 if you are interested in one of the pieces below.

Seth Armstrong – “7:45”
Germs – “Aloha”
Erica Rose Levine – “Carnival”
Meggs – “Dreams of Paradise Lost”
David Cooley – “Exotic Anxieties”
Low Bros – “Flaming-O”
Scott Listfield – “Hello”
bumblebeelovesyou – “Last Slice”
Jeff Ramirez -“Mr. Blue”

New Special Thinkspace Edition from Dalek – “Space Monkey (Green)”

Dropping tomorrow, Friday, April 27th, from Thinkspace Editions we’re excited to publish a very special edition from DALEK.

DALEK (aka James Marshall)
‘Space Monkey (Green)’
Limited Edition of 25
18×18 inches / 45.7×45.7cm
6 color screen print on laser cut 1/4 inch birch plywood
Signed and numbered by the artist
Comes in a custom foam enclosure box + bonus enamel Space Monkey pin
Screen Printed by Serio Press
$160 each

New Print Editions from Brian Mashburn and Michael Reeder! Available during the Opening Reception of “Origin Stories” and “mOMENt”

The opening of Brian Mashburn’s “Origin Stories” and Michael Reeder’s “mOMENt” is tonight and we will be dropping two new print editions from Mashburn and one from Reeder. The prints will only be available this evening during the opening, and any remaining prints will be shared via our webshop next Friday.

Both exhibitions are best appreciated in person, so we look forward to seeing you this evening!

Available during tonight’s reception from 6-9PM.

BRIAN MASHBURN
‘Kettle’
Edition of 25
16.75×20 inches / 61×45.7cm
Fine art print on 290gsm paper
Signed and numbered by the artist
Printed by Static Medium
$75 each
BRIAN MASHBURN
‘Walking Shadows’
Edition of 25
24×13.75 inches / 61×45.7cm
Fine art print on 290gsm paper
Signed and numbered by the artist
Printed by Static Medium
$75 each

MICHAEL REEDER
‘Epiphany I’
Edition of 60
18×22 inches / 30×55.8cm
Fine art print on 290gsm paper

Each print will be hand embellished (* an example will be in our e-mail update this Sat. prior to opening)
Signed and numbered by the artist
Printed by Static Medium
$120

 

 

BRIAN MASHBURN’S “ORIGIN STORIES” COMING APRIL 2018

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.