Interview with Andy Kehoe for “PRISMATIC”

Thinkspace is proud to present PRISMATIC from Pittsburg-based artist Andy Kehoe. PRISMATIC is a body of work that speaks to both the freedom and fear of the unknown. Through the prisms of fantasy and imagination, Kehoe considers the variegated nature of mixed perceptions that shape our endless versions of experience. In our interview with Kehoe, we discuss his evolving creative process and technique as he approaches each new piece; in addition to dreams and desire for collaboration.

Kehoe’s work is best experienced in person.
Make sure to come into the gallery during PRISMATIC‘s showing from now through October 21st.

SH: What is the inspiration behind PRISMATIC? Are you exploring a specific theme or narrative?
AK: Throughout my career, my goal has been to create a sense of wonder, mystery, and grandeur. I feel my recent work has really started to tap into those facets of emotion so with PRISMATIC, my goal was to take those themes and emotions to another level visually and conceptually.

On the surface, PRISMATIC applies an expanding color palette and use of a greater range of color than in previous work. I also used some iridescent and pearlescent paints that give the paintings a physical shimmering and glow when seen in person. Visually, I wanted this show to be bold and vibrant. Beyond the surface, I wanted the pieces to expose the hidden layers of reality that surround us.

Until the discovery of the spectrum of light using prisms, humans accepted the idea of light being white and colorlessness. It was initially accepted that the prism colored light, when in fact it separates it and reveals the entire color spectrum. This spectrum extends beyond what we can observe with the naked eye and even what we label as “color.” This makes me wonder what other layers exist around us and are neglected due to our limited understanding. What other mysteries can we not yet see?

There are very few natural things that occur in a singular or even dual reality. There is no black and white, but in fact, a multitude of gray or “in-between.” For example, there is no pure emotion, motive, or perspective. Almost everything in existence is beautifully and sometimes maddeningly layered. I have been working with layers for many years, even before the use of resin, and my work continues to progress technically and conceptually. While I don’t have the ability to explain the mysteries of the universe in a practical or scientific sense, I do possess imagination. I see imagination as a gift to help explain the mysteries of reality and expand beyond what is known. I’ve always been interested in the concept of a multiverse but my work looks at this idea through the prism of fantasy and imagination. The world I create is layers of imagined universes and though those universes are more apparent, they are no less mysterious.

Technically, I wanted to put more focus on painting for this show. I have learned a lot working with resin over the last few years but mostly I have learned I prefer working with resin primarily as a medium itself. I wanted to refocus the work to the techniques and textures I can create and not just the three-dimensional elements of resin. By applying pigments and wet paint in the uncured resin, I am able to create an organic chaos I could not bring out just working with oils. That kind of uncontrollable randomness is very hard to consciously create because no matter what, my mere human mind always tries to create order. It brings an intriguing juxtaposition when combined with the very calculated and ordered parts of my work. For this show, I made the decision to use fewer layers of resin so I could spend more time painting within each layer. This allowed me to bring more detail, attention, and care to each individual layer. It also allowed me to work larger due to the overall weight of the resin. My early resin pieces were very heavy and cumbersome. As my imagination and ideas continue to grow, the larger format allows the universes to breathe and exist. That being said, the thin resin sill adds an amazing amount of depth but I’d be wary to call it three-dimensional.

SH: Nature is a strong element in your work, have any of your pieces been inspired by a specific place?
AK: I wouldn’t say there’s any specific place. A lot of influence definitely comes from growing up in western Pennsylvania and having access to a big forest in our backyard. My brother, Ben, and I used to run around those woods like wild animals. Exploring the mystery of the woods as a kid certainly stuck with me. In 2010, I moved back to Pittsburgh from Portland. The move home was a cross-country tour of amazing national parks like Yellowstone, Grand Teton, Devils Tour, and the Badlands. I was blown away by the grandeur of it all and those sights certainly left a lasting impression.

SH: As your work tends to address the elements of the “unknown,” what unknown is most daunting to you?
AK: I don’t see the unknown as daunting. The unknown is, of course, very terrifying by nature, but it’s also equally inspirational and wondrous. The cosmos has an incomprehensible scope and magnitude that generates both fear and awe. That emotional duality will always inspire me and spark my imagination. I definitely try to evoke that feeling through my own work and it’s a major reason that I was drawn to adding cosmic elements to my paintings. (Aside from it being really fun to paint!)

SH: What is your creative process? Can you walk us through a day in the studio?
AK: When I’m working on a show, I usually wake up, make some decaf coffee (regular coffee betrayed me and now makes me feel like death), give the dog and cats some treats, cook some eggs, and check up on emails and other mundane administrative things. Then I’ll go up to the studio and formulate some sort of game plan for the day. Because I work on several pieces at once, and each of those pieces consists of a few layers of resin, every day is a singular adventure.

A normal day can consist of working out concepts with writing and sketching, cutting masks for airbrush, applying clear base acrylic layers to new resin layers, experimenting with some new materials, taking pieces down to the basement for airbrushing, and of course, some actual oil painting. Some layers take a while to paint and sometimes I spend a whole day on one piece, but I usually end up working on a few different pieces in a single day. If there are any pieces that are ready for a new layer of resin, I’ll usually do this towards the end of my workday. I close out my night by putting on headphones and washing all the brushes I used throughout the day. That task can be pretty daunting and it’s tempting to skip, but I love waking up the next day with a fresh set of brushes to work with.

SH: We know you continue to challenge yourself as an artist with each body of work, but was there a specific piece in this exhibition you feel unexpectedly challenged you or took you on an unexpected journey?
AK: The most challenging piece for this show was Worlds Apart. I wanted to somehow create two different worlds existing at once, on different layers, and have them blend into each other. Somehow. Logistically, it took a ton planning and brainstorming. This was done mostly by staring at the piece for hours and wondering how the hell I was going to pull it off. I spent a lot time tinkering and improvising and, by the end, many of the initial conceptual elements were shifted and readjusted. It was also hard to know how things would come together until I painted the very last layer. There were some very tense and uncertain times with that piece, but I couldn’t be happier with how it turned out.

SH: In past interviews, you’ve shared that you have very vivid dreams. Do you have recurring dreams or locations? What is your earliest dream memory?
AK: Yes. My dreams are very epic. Haha. I have all types of dreams. Sometimes I have action packed dreams full of guns, explosions, and impossible odds of capturing a bad guy or saving the world. I also have dreams that could be considered nightmares, usually consisting of an ominous and unseen threat closing down on me, and those around me. Those dreams are pretty frightening but also very intriguing and exciting.

Mostly I find myself wandering around strange, alluring landscapes. I’ve seen so many amazing and indescribable places in my dreams and I can only remember fleeting glimpses of them. They’re impossible to verbalize and properly explain, but I do attempt to evoke the feelings these places give me. Some of these places I do revisit in dreams, and one specific landscape is what inspired the piece Reoccurring Shores. In my dream, I find myself facing a vast, quiet ocean from a snow-covered, rocky shoreline. I am always there at the very end of sunset or the very beginning of sunrise. I am not sure where this place exists but it feels like the very bottom of the world, as far as you can be from civilization. The salty ocean air is so crisp, cold, and clean and the only sound is the gentle lapping of small waves on the shore. It’s an overlap of profound tranquility and a frightening feeling of utter isolation. I feel so small and so wonderfully insignificant in this place and I reminisce of it often in my waking hours. I have wanted to capture this image for a long time and this painting feels very close but to truly capture it, I think the painting would have to been around 20 feet while keeping the character the same size. One day.

SH: How have you grown as an artist in the last 5 years and how do you hope to grow in the following 5?
AK: There has definitely been a learning curve with the resin. I feel like I’ve figured out so much by using it over the last 5 years. Being more comfortable with the resin has allowed me to focus more on the actual art and less on the process itself. This has been really energizing for me. PRISMATIC is more ambitious because it was less about experimentation with resin alone but the combination of all of my skills and tools I have learned and practiced. I am also more comfortable painting on resin and it feels great to bring back those techniques. Truly mixing my old ways with the new and continuing to learn so much with every piece I make. I hope to continue using those lessons and keep pushing my work into new territories. On top of the technical growth, I’ve also grown as a human being, and continue to expand my mental horizons. That definitely has a profound impact on the direction of my artwork.

I really want to do more collaborative work in the future. Working from home as an independent artist can get pretty isolating. I know there is no way I could work on a project and paint everything manually so I plan to take some digital painting classes. I’ve always wanted to be good at digital painting and I’ve tried to figure it out on my own, but I’m so damn used to the feel of brushes and mixing paint on a palette. I know I can persevere; I’ll just have to get some expert education. Plus I have some other personal projects that I want to spend some time on, and being able to do digital conceptual art would be very handy.

SH: What about another artists’ work excites or fascinates you? Who do you think everyone should look up?
AK: I love a mix of good craftsmanship with art that is still mysterious and imaginative. If it’s well made and makes me think, “What the hell is going on in this person’s mind?” I’ll likely be attracted to it. Having a unique visual style goes a long way, but having a distinct and defining voice is more important to me. Essentially, artwork that’s comfortable in its own skin. Some specific artists that come to mind are Aron Weisenfeld, Esao Andrews, Femke Hiemstra, AJ Fosik, and Martin Wittfooth. There are plenty more, but it would take way too long to list them.

SH: What was playing in the background during the creation of this body of work? Does what you listen to inform the mood of the pieces or are they separate?
AK: It’s a constant mix of music, podcasts, and audiobooks. I really like working to music in headphones. It puts me in the zone and I become immersed in the work. I actually picked up some nice wireless headphones for this show because my corded headphones kept getting caught on things in my studio, my drafting table chair being the main culprit. Nothing tears you out of a good creative session (or inspires a quick, hot rage) like having headphones suddenly ripped off your head. In the beginning concept stage, I zone out to ambient, non-vocal music. Later on, I move on to whatever albums fit my current mood. Music can definitely add to the mood of a piece I’m working on, and sometimes it’s just something to fall into and be creatively motivated by.

Audiobooks are a huge part of my listening regimen. I usually listen to 15-20 audiobooks per show. I mostly listen to fantasy books and series with a sprinkling of non-fiction and general fiction. The fantasy genre consists of a lot of descriptive world building, which inspires my imagination and puts me in a good creative mood. It also helps me push through more tedious parts of paintings, such as endless straight hours of trees and grass painting.

SH: Who would you want to collaborate with, dead or alive? The person can be in any area of the arts; film, dance, music etc.
AK: My ultimate dream is to animate a story of my own creation, and I’ve been writing my own story, on and off, over the last few years. That being said, the ability to work with some of my current favorite authors like Brandon Sanderson, Scott Lynch, or Patrick Rothfuss would be amazingly insightful. I’d also love to collaborate with J.K. Rowling so she could inject magic and humanity into it, and could help me name my characters. She has the best names. If I could work on a personal animation project, it would more likely be influenced by filmmaking than animation, so I’d like to pick the brains of my favorite auteurs like P.T. Anderson, Wong Kar Wai, Guillermo del Toro, Stanley Kubrick, Alfonso Cuaron, and Wes Anderson. Terrence Malick can also throw some philosophical tidbits my way and make me contemplate the war of man and nature.

As for painters, I don’t think I’d want to collaborate as much as be a fly on the wall and observe some masters like Bosch, Bruegel, Goya, or Caspar David Friedrich. To see their processes and techniques from conception to completion would be astoundingly fascinating and enlightening.

SH: When not in the studio, what would an ideal day look like?
AK: My studio is at home, so sometimes it feels impossible to get away from work. For that reason, I try my best to take Sunday as a day of guilt-free slacking. Those days usually consist of hanging with my wife and the animals, playing some video games or board games, watching some good TV or a movie, and ignoring email at all costs.

DULK’S “EXTINCTION” at Moniker International Art Fair

Dulk’s “Extinction” opens at the Moniker International Art Fair tomorrow. A vibrant new body of work from Dulk of surrealistic landscapes full of inspired imaginative details. Dulk explains the inspiration behind the exhibition in a video giving the viewer a peek into his studio and adventures.

“When dreaming you can do anything. When drawing you can do anything”

 

“Northern Delights” from Dulk

A new epic mural from Thinkspace Family artists Dulk, “Northern Delights” is delighting Finland. Dulk will be a featured artist in Thinkspace Gallery’s 8 booth takeover at Moniker International Art Fair October 5th through October 8th.
Visit www.monikerartfair.com for full details and tickets.

Brian M. Viveros Studio Visit for Moniker Featured on Juxtapoz

Brian M. Viveros’s latest body of work Bulletproof is being shipped off to Moniker International Art Fair, and Juxtapoz has the studio visit with a sneak peek of what’s in the container.  Jump over to Juxtapoz.com for the full story and studio visit.

Urban Nation Museum Opening Covered on Arrested Motion

Our friends at Arrested Motion published some amazing coverage of the opening of Urban Nation Museum in Berlin.

“Located on Bülowstraße in Berlin-Schöneberg, Urban Nation Museum now offers a clear overview of the current state of the street and urban art scene worldwide. Under the motto “UNique. UNited. UNstoppable.”- Arrested Motion. 

The  Urban Nation Museum has been 4 years in the making, and our curator/ co-owner Andrew Hosner has been going back and forth between Berlin and Los Angeles as one of ten curators who worked together to select 150 pieces that combine various styles and techniques of the urban art scene.

Please jump over to Arrested Motion to see photos of the Openings: Urban Nation Museum and Openings: Art Mile – Urban Nation Museum.

Interview with Alvaro Naddeo for “Not Forgotten”

Thinkspace is proud to present Not Forgotten from Alvaro Naddeo in the Project Room opening September 30th. This is Naddeo’s first solo exhibition with the gallery, only months after exhibiting a few works in the Thinkspace Gallery office. A rotating area of the gallery featuring works from new artists to the Thinkspace fold, or returning pieces from group exhibitions across the globe. Naddeo is a self-taught painter whose works explore various urban environments and the objects found in them that have shaped his memory and imagination. Autobiographical in nature, the compositions contain symbolic references to his own nomadic past and his transition through the landscapes of several different cities and countries. We interviewed Alvaro Naddeo for “Discarded” back in March where we deep dived into his creative process, today we explore more of the artist.

SH: You recently showed in our office space in March, and now a solo in the project room, what can we expect from this new body of work?
AN: This new body of work is, in my opinion, an extension and an evolution of what Thinkspace showed at the office space earlier this year. The theme, tone, voice, and medium are the same, but the ideas got pushed further and the exploration was broader. I like this new series a lot more than the previous one (which I like too!). I believe the composition of these paintings is cleaner and the concepts are clearer. I’m very happy with this body of work.

SH: What do you think is the role of the artist in society?
AN: I believe the role of the artist in society is to provoke, question, raise concerns and share thoughts about the society we live in. Most artists are very good at making observations on what’s going on in the world, pass those observations through a personal filter, and then put them back out there by sharing them with society. All of that while celebrating aesthetics.

SH: How do you approach each piece in a new way that challenges you as an artist, and motivates you to push your artistic voice?
AN: Each piece is more challenging than the previous ones because I’m looking for new ways to express a similar thought. I always want the recent pieces to look better and fresher than the previous ones, so that’s another challenge.

My motivation comes from the desire to express myself. I’m a shy person but I do have an opinion and I like to share it with others and since I don’t do it much verbally, I feel motivated to do it through painting. I’m also motivated by the connection that is formed with people who like what I paint. I feel that the group of people that my paintings connect with are really interesting. It seems that they are a very small fraction of the general public, but they are very engaged and intense.

SH: What plays in the background while you’re working on a composition?
AN: I listen to a lot of podcasts from Brazil and the US. Sometimes a little music plays, but mostly podcasts.

SH: Who would you want to collaborate with, dead or alive? The person can be in any area of the arts; film, dance, music etc.
AN: I would love to collaborate with Pixar. I hope John Lasseter has a google alert for every time his name appears somewhere and he receives this interview and checks out my art!

SH: How have you grown as an artist in the last 5 years and how do you hope to grow in the following 5?
AN: The improvement I’ve experienced in the last 5 years as an artist is huge, not necessarily because of where I am now, but mostly because of where I was then. I don’t show almost anyone what I was doing 5 years ago. It was clearly necessary to go through that and to paint those pieces to get where I am now. That’s normal. That’s the journey of most self-taught artists. It takes a while to figure out many things. There is so much to learn in terms of technique, composition, color use, scale, etc. In the next 5 years, I wish to grow, even more, improving my technique, learning to draw better, and also to be able to paint more hours than I do now.

SH: If you had a dinner party, who would be the guest of honor? What would be the menu? And what is the one question you’d ask all your guests?
AN: I would have three guests of honor: Kurt Vonnegut, Julio Cortázar, and Stanley Kubrick. Dinner would be whatever they like and sushi for me. The question would be: How would you like to improve as a person?

SH: Answer the question you would ask all your guests.
AN: I want to be able to always and constantly desire less of everything and to continue being grateful for everything good that happens to me.

Join us for the opening reception of Not Forgotten on September 30th from 6 to 9pm.

ANDY KEHOE’S PRISMATIC OPENS SATURDAY, SEPTEMBER 30th – Together in the Maelstrom

We’re incredibly excited to be showing Andy Kehoe’s latest body of work PRISMATIC. The exhibition will be the first LA show from Kehoe in the last five years. Here are some of his thoughts on the postcard piece, Together in the Maelstrom pulled from his blog,

“The postcard image is the first piece I finished for the show called, Together in the Maelstrom. I’ve been wanting to make a spiritual followup to my piece, Together at the Threshold, for a while now. I made Together at the Threshold for my wife, Ash, for our engagement and it symbolized us at the precipice of our future journey together. This year, on August 25th, we celebrated our 5 year anniversary so it seemed like a fitting time to make the follow-up. We’ve been through a lot together in these past 5 years so I wanted to convey the beauty of love and partnership, but also capture the frightening largeness of it. Giving yourself completely to another person, trusting in them, and resigning yourself to all the vulnerabilities that entail, is at once beautiful, comforting, fearsome, and a multitude of other emotions I can’t begin to adequately express in words. Then externally, the world around us is both a grand and dreadful place, so having someone to share the experience is all the more comforting, exciting, and gratifying. But it also brings an extra level of fear and anxiety knowing that all the horrible things in life can affect the person you love and none of it is in your control. All you can do is take their hand and witness it together in all its awe and horror.”

Together at the Threshold
 Together in the Maelstrom.

PRISMATIC opens this Saturday, September 30th, for more information on the exhibition please visit the Thinkspace Gallery website.