Published by Thinkspace Editions in conjunction with “Petrichor” on view through August 4 at the Mesa Contemporary Arts Museum in Mesa, Arizona.
An artist monograph cataloging the works of artist Esao Andrews from 2001 to 2018. 296 full-color pages bound with a linen hardcover. And forwarded by Andrew Hosner (Thinkspace) and an essay by Marieke Treilhard (arts and culture writer).
Deluxe Edition | $200 Limited to 300 numbered copies Housed in a custom debossed linen slipcase Includes a signed & numbered 8×8 inch (20.3×20.3 cm) print on Canson Aquarella 310gsm paper
PLEASE NOTE:All orders will start to ship on Tuesday, June 18. Our hopes are to have all books arrive to their new homes by the end of June. We will be sure to share tracking details once your package is on the way. If you have any questions once June 18 has passed, please direct them to firstname.lastname@example.org. Please do not check in prior to the end of June, as we will have NO updates prior to that. Thank you for understanding and for your support.
We’re excited to be showing new work by Pheonix-based artist Frank Gonzales in our project room for his solo exhibition Desert Discourse opening Saturday, March 2nd. Gonzales’s compostions showcase his love of botany and ornithology, combining both the organic and artificial, the natural and the contrived, to produce what the artist himself has aptly coined ‘artificial realism.’
In anticipation of Desert
interview with Frank Gonzales discusses the inspiration behind this latest body
or work, and his love for prickly pear and John Coltrane.
SH: What was the inspiration behind this latest body of work? Were you exploring a specific theme or pushing yourself artistically in a certain way?
FG: I’m always trying to push myself artistically with each painting or body of work, at least I try. The theme of my work is a continued exploration of the phenomena and sense of wonder I hold of the natural world. There’s been an introduction of aerosol in some of the works. Its been great To revisit my roots as a graff writer and play with the medium again. The quality of paint and options of colors offered these days are phenomenal. That kind of makes me sound old, haha. It’s just great to throw another medium in the mix and react to it.
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.
FG: I really enjoyed painting Night Breed. It’s more specific imagery wise. Instead of stacking various elements I chose to illustrate a pollinating night scene of a Saguaro with Long Nosed Bats. There are so many different pollinators of the Saguaro, but a night scene with bats is just so badss. Its remarkable knowing a Saguaro doesn’t even produce flowers until its around 70 years old and can age well over 100 years old! Pollination of flowering cactus in the Sonoran Desert could be a whole series in itself. Who knows, that could be another venture to explore on the horizon!
SH: How do you approach starting a new piece? Walk us through the process of a piece from conception to completion.
FG: I’ll usually start by obsessing over a certain cactus or mineral or some sort of natural element as a jump-off point. Or I will just start putting down paint on a surface and react with shapes and colors, etc. Its a pretty organic process.
Once I have a surface I’m happy with I will start to research from books, pics I’ve documented, my desktop folder of images, or plants from my own collection. Once an element is chosen I’ll draw it on the surface and it grows from there. The painting will usually dictate what it needs. The hardest part is learning to step aside from yourself and let it happen without getting too heady about it.
The painting process is usually a blur of being in the moment. I love that the most. All sense of time is gone until you stop and back away. It’s an experience I think most artists can relate to.
SH: What excites you about your work / creative process?
FG: It can be a love/hate relationship. Sometimes starting is the hardest part and also the most exciting. As mentioned above I think getting out of the way of yourself and moving with the process is exciting. There’s a sort of dialogue that happens I find enjoyable.
SH:What frustrates you about your work / the creative process?
FG: The times where you feel like you’ve run out of ideas or stopping yourself mentally before even starting. This is usually a sign that something needs to change. Find a different approach or just change the music. In the end the work will still be consistent, but its the mental chatter that can be a bit of a buzz kill. I definitely think the excitement and frustration balance each other out. You can’t have one without the other.
SH:Is there a piece of knowledge or advice around being a working artist that you wish you knew 10 years ago?
FG: Not really. Its an ongoing journey to be explored.
SH: If your body of work inspired an ice cream flavor, what would it be called and what are the ingredients?
FG: Hmmm, maybe Prickly Pear fruit! I would have to be a Paleta and all natural. HA!
SH:If you could collaborate with any other artist (dead or alive) in any art form, such as music, film, dance etc… what would be your dream collab and what would you create?
FG: At first my thoughts would be to do live art with John Coltrane, but I wouldn’t get anything done because I would probably just stand there in awe. I would probably have to go with producing some type of super sexy and sensual botanicals for a Prince album. HAHA.
SH: What do you think the role of artists is in society? How does other artwork inform how you move through life?
FG: The role of artists in society is very vital. It’s how we communicate and express the unspeakable truths of natural phenomena. Language can only communicate so much. There are so many forms of art out there that inspire, inform and speak to me. It shows what it means to be human. It’s chaos, it’s ugly, it’s pretty, it’s functional, it’s useless, etc. It’s all out there. What matters is how we engage with it. It’s about what we choose to accept and not accept and to keep an open mind and heart regardless.
SH: Favorite way to celebrate the completion of a project/body of work?
FG: a big sigh and some brews. ha!
Join us for the opening reception of Desert Discourse, Saturday March 2nd from 6 to 9 pm.
BOOK-SIGNING EVENT this Saturday, December 15 from 4 to 6 PM
Book will be available at the event this Saturday for $45 plus tax
Scott will be on site from 4 to 6 PM signing copies of his new book (while supplies last) published by Paragon Books and Spoke Art. ‘ASTRONAUT’ is 232 pages packed full of every painting Listfield has created to date, over 350 of them, featuring his trademark lone astronaut exploring a not too distant future, filled with pop culture references galore. Featuring essays from Listfield along with Forwards from Danielle Krysa (The Jealous Curator) and Andrew Hosner (Thinkspace Projects).
PLUS we’re excited to publish a new limited edition fine art print of his iconic “It’s Like That” painting from our recent solo exhibition ‘1984’ with Listfield. Details are below.
Both the print and book will be available this Saturday from 4 to 6 PM at Thinkspace.
SCOTT LISTFIELD It’s Like That
16×23 inches / 50.8x66cm
Edition of 60
Fine art print on 290gsm paper
Hand signed and numbered by the artist
Printed by the good folks at Static Medium
AVAILABLE ONLINE IN EARLY JANUARY 2019
Details to follow. We are not shipping before the holidays, so we will set a day and time for the second week of January and share details soon. For now, this Saturday from 4 to 6 PM is your only chance to purchase this special edition from Listfield. No online or phone orders at this time. Thank you.