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

 

 

Interview with Michel Reeder for “mOMENt”

Thinkspace is proud to present Michael Reeders solo exhibition ‘mOMENt’ in our project room. Last year we presented two sold-out mini-solos from Michael Reeder in Miami and Arizona, and are excited to finally present a full body of work in our Culver City gallery. Reeder’s mixed media contemporary portraits use figurative distortions and symbolic dislocations as a vehicle for the expression and examination of identity that constantly keep us on our toes and pondering. In anticipation of Reeder’s upcoming exhibition with us, we have an exclusive interview with Michael Reeder to discuss his latest body of work, in-studio diet, and MFA of life.

mOMENt’s opening reception is from 6 – 9 pm this coming Saturday, April 7th in our project room

 

SH: Tell us about this show. What is the inspiration? What were you exploring in the work?

MR: My work always begins and ends with the surface. However, for this body of work, I wanted the literal identifiable imagery of the portrait to fall back as a secondary element and let color, surface, shape, and form take on a more dominant role. In doing so, I hoped to give the figures more of an in-between realms sort of vibe; As if they are in a deep state of contemplation, or hypnosis, or even partaking in mind-altering substances, etc. I wanted to depict the point where their everyday world and the world in their minds begin to fuse and blend. Also, in previous works, there was a simplified shape to the figure or portrait bust and the interior elements of the portrait gave the figure a sense of identity, and in these new works, it’s somewhat reversed. The interior of the portrait is abstract and painterly with very little if any information and the silhouette holds more information of who the figure is. But yeah, super excited to be showing in the Project Room! Can’t wait to see what everyone thinks of the new stuff!

SH: What 3 websites do you check every day or people you follow on social media?

MR: I don’t really have any go to websites, but on IG I definitely try to keep up with a range of artists. Right now I’m really feeling @katherynmac, @ineslongevial, and @anjasalonen….. such incredible painters!

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

MR: The journey of creating something from nearly nothing is extremely rewarding, regardless of how successful the final product is. I love building on top of previous concepts or getting to implement new ideas that were discovered from a previous body of work.

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

MR: All of it. Haha, no not really, but sometimes it can certainly feel that way. My latest work has of course taken on a more dimensional quality, and implementing the physical layers while trying to maintain an uncontrived and fresh feel is a major challenge. Many of these works require significant preliminary planning due to the amount of bracing, gluing and hardware that is required to attach such heavy pieces together. This stage can easily stagnate a piece, as well as kill the journey for me. The last thing I want to do is spend hours a day, every day, working on something that I already know what the end result is going to be. That’s extremely boring.

SH: After a show what do you do? Do you take a long break, vacation, a particular ritual? Tell us.

MR: I don’t have a particular ritual but I do try to take a few days off. I took a week off after the Scope push, but this round I’m not sure I’m going to be able to do that. My schedule is way too packed leading into summer… I’ve got some commissions I’ve been sitting on for nearly forever, and I’d love to get somewhat caught up on those.

SH: How do you plan out your compositions?

MR: It all starts with a super simple doodle of shapes to establish a general composition that I’ve built in my head. I then transfer that to Photoshop or Procreate on my iPad, and I start pushing colors and shapes around. I’ll begin to bring in some representational elements, ie. hands, arms, faces, and will usually run through a few different versions so I can establish a solid starting point. This allows me to engineer the structural parts of the piece early on like I mentioned earlier. Some of my pieces can have some pretty significant weight to them, so it’s important to make sure I start off with a sound base to build on top of. I’ve certainly had a few pieces go in an unplanned direction, and therefore not all that prepared for the weight of certain pieces. I’ve definitely had to perform some surgery here and there to shore up areas while the piece was nearly done, lol.

SH: How often are you in the studio, do you work on the pieces daily or do you have creative spurts with concentrated efforts or work and then long periods of not working?

MR: At the moment I typically spend 6 to 7 days a week in the studio. As a show deadline approaches, the days get longer and longer and far more intensely focused on production and the completion of works.

SH: What do you eat when working on the show? Are you a 3 square meals kind of person, or have snacks on hand?

MR: 3 meals a day and I’m pretty locked on what they are too, lol. I don’t have time to spend trying to figure out what to eat. Granola and coffee in the morning and I make my lunch sandwich before I head out to the studio. The sandwich is comprised of hummus, shredded carrots, ¼ avocado, and arugula and spinach on a wheat bun. Essentially a salad on bread, lol. I have coconut milk yogurts and peanut butter and jelly supplies stocked at the studio. However, I do my best to get home to eat dinner with my girlfriend!

SH: If you were to collaborate with a band or musical artists to create a music video inspired by your artwork, who would you work with?

MR: Oh man… wow… Collaborating with Black Sabbath in their heyday would’ve been amazing, but I really feel like Uncle Acid and Deadbeats and I could make a really sick music video together!

SH: Has there been an artistic catalyst in your life? Something, someone, some event that made a significant impact on you that has lead you to where you are now.

MR: I used to work at Eyecon Studios which is a mural company in Dallas, TX. In a way, the two owners sort of became mentors of mine. Their breadth of knowledge in the arts, especially in the commercial and illustration realm, is immense. I just tried to be a sponge and soak up as much as I could while I was there. I can for sure, without hesitation say that the work I’m making now would not exist if I did not work for them. Many of my undergrad classmates at SVA went on to get their MFA degrees after graduating. I decided to take the advice of Farrell Brickhouse (an instructor of mine), and sought experience from other aspects of life after. So in a way, Eyecon was my MFA program. Instead of taking out another student loan I got paid to learn more.

SH: What’s in your toolbox? AKA what paints, brushes, tools would we find in your studio? What do you wish was in your studio?

MR: I’ve got the standard paints, oil, acrylic, and acrylic latex. I also have a full range of potassium silicate paint which is a mineral based silicate paint. Beautiful stuff, but stupid expensive – and they just went up on their prices too! I’ve got a vinyl cutter, vinyl, vinyl masking, etc. Tons of tools such as different saws, sanders, routers, nearly every hole saw bit you can buy, lol. A bunch of other crap! I just moved into a larger studio space, so I’m hoping to eventually be able to set up a proper table saw. I’d also like to set up a spray booth as well. Spray paint is such a pain in the ass to clean up!! That would also let me get a big air compressor set up with different cup guns and airbrushes and maybe be able to achieve some sweeter gradients in my work. I’m a color nerd and very much prefer to mix my own colors and with spray paint, you’re not able to necessarily do that.

SH: You have a time machine, and you could do anything / go anywhere for 24 hours, and would not interfere with the space-time continuum. What would you do?

MR: Ahh geez… ummm… let me think on that one for a bit.

Interview with Brian Mashburn for “Origin Stories”

Thinkspace is proud to present Brian Mashburn’s solo exhibition ‘Origin Story’ in our main roomWe’ve been showing Mashburn’s signature hyper-realistic and resonate smoky landscapes for the last three years and this is his first solo main room exhibition. We are excited to present this Ashville-based artist’s most substantial body of work to date, as he explores the origin stories of the self through desolate compositions.  In anticipation of Mashburn’s upcoming exhibition with us, we have an exclusive interview with Brian Mashburn to discuss his latest body of work, his favorite and least favorite aspect of his work, and time travel.

Origin Stories opening reception is from 6 – 9 pm this coming Saturday, April 7th in our main room

SH: Tell us about this show. What is the inspiration? What were you exploring in the work?

BM: This will be my first solo in the main room at Thinkspace and I’m pretty sure it’s the largest single body of work I’ve made to date.  I’m excited and very grateful for the opportunity, looking forward to spending a few days in LA, too.
Lately, I’ve been thinking a lot about the notion of narrative history and origin stories both on a personal level and on a wider cultural or societal one.  Our identities are often couched in origin stories – a recounting of major life events such as where you grew up, people you knew and loved, tragedy endured and avoided, that all come together to form the present moment.  It’s also to do with heritage, a word that carries somewhat unfortunate euphemistic attributes these days, but nonetheless, from what tribe are your parents are from?  Grandparents?  How did they come to be here or there?  It’s interesting to me the level at which this sort of thing shapes our current experience in and of the world.
Also birds.  Lots of birds in this show.


SH: What 3 websites do you check every day or people you follow on social media?

BM: My daily media diet is centered more around podcasts than websites or social.  I don’t know that I have 3 websites I visit daily unless you count Gmail and maybe YouTube or Netflix, but as far as podcasts go there are quite a few I listen to regularly.  I like The Weeds and Ezra Klein’s show, Bill Simmons, WTF, On Being, Fresh Air, Us and Them, Unexplained, Past Present, Conversations with Tyler Cowan, and many more.

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

BM: It’s always exciting when something new or experimental works out.  I’m always trying to improve or evolve in some form or other – sometimes things just work out, which is great.

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

BM: In the same vein as the previous question, it’s frustrating when the work feels stagnant.

SH: After a show what do you do? Do you take a long break, vacation, a particular ritual? Tell us. 

BM: I always think I’m going to take a break but in reality it rarely if ever happens.  I generally take a couple extra days when I’m in California to go somewhere, maybe camp, be out in nature.  In the days leading up to a big show I tend to get pretty burnt but as soon as it’s over the main thing I want to do is just get back in the studio.  Something about idle hands feels dangerous.

SH: How do you plan out your compositions?

BM: Most of my compositions are pretty basic at their core.  I’ll occasionally do a thumbnail sketch and decide on a compositional stem or armature on which I’ll build the picture.  More often I’ll just have a general design in mind, such as one based on an ‘L’ or ‘O’ and just feel it out as I go – working background to foreground.

SH: How often are you in the studio, do you work on the pieces daily or do you have creative spurts with concentrated efforts of work and then long periods of not working?

BM: I work every day with varying degrees of success.  I almost always have at least a dozen paintings in the works.  There is the occasional day when I don’t paint but rather work on reference and research.


SH: What do you eat when working on the show? Are you a 3 square meals kind of person, or have snacks on hand?

BM: I probably eat better when a deadline is approaching.  It’s basically the only downtime I have so I try and make it count. I’ve been cooking a lot lately, too, been really into cast iron.  I find it very rewarding to not be completely inept in the kitchen.

SH: If you were to collaborate with a band or musical artists to create a music video inspired by your artwork, who would you work with?

BM: Elvis.

SH: Has there been an artistic catalyst in your life? Something, someone, some event that made a significant impact on you that has lead you to where you are now.

BM: Yes, all the time.  I particularly like when something mundane gets the ball rolling, like when the power goes out or unexpected overnight snow.


SH: What’s in your toolbox? AKA what paints, brushes, tools would we find in your studio? What do you wish was in your studio?

BM: Lots of brushes, mostly Gamblin and Winsor/Newton oils, several easels, a computer and iPad.  I would love to have a studio with higher ceilings and better light.

SH: You have a time machine, and you could do anything / go anywhere for 24 hours, and would not interfere with the space-time continuum. What would you do? 

BM: It would probably be something nature-related, like go see a short-faced bear or woolly mammoth.

Check out past interviews with Brian Mashburn for his previous exhibitions with Thinkspace Projects. 

2017 Interview with Brian Mashburn

2015 Interview with Brian Mashburn

ALVARO NADDEO INTERVIEW ON TONER MAGAZINE

Toner Magazine recently interviewed Thinkspace Family artists Alvaro Naddeo.
Naddeo started showing with Thinkspace last year and has received a massive positive response from the community. His thought-provoking work connects with people from all walks of life as they reflect on consumerism, mobility, identity, and more.

Jump over to the Toner Magazine website to read the full interview.

Where do you get your inspiration?

On the aesthetic level, I’m really inspired by everyday marginalized, urban, quotidian objects, and inspired by trying to find an angle or a composition where those uninteresting objects obtain a new and compelling beauty. I’m also fascinated by the natural decay of those elements, observing how everything loses its original color, shape, and texture, how sunlight, heat, rain, humidity wind and time add an organic and particular texture to them.

On a political level, I’m inspired by the opportunity to share my point of view of the world and to connect with people who think alike. Its very interesting to me to use art as an instrument for criticizing the things I see and disagree, like overconsumption, social inequality, programmed obsolescence and the consequence they have over the exploited third world countries, nature and planet as a whole.  – Alvaro Naddeo for Toner Magazine

Alvaro Naddeo’s next solo exhibition with Thinkspace Projects opens June 30th!

BRIAN MASHBURN “Origin Stories” STUDIO PEAK

Brian Mashburn’s solo exhibition “Origin Stories” is on the horizon with the opening only two weekends away. Mashburn continues to take us through fog-laden landscapes in his new body of work, with compositions that possess details only truly appreciated in person. Until April 7, here is a taste of what is to come from Brian Mashburn.