Andy Kehoe’s “PRISMATIC” & Alvaro Naddeo’s “Not Forgotten” Opening Night

The opening of Andy Kehoe’s “PRISMATIC” and Alavaro Naddeo’s “Not Forgotten”  filled the gallery with artists friends and art enthusiasts to view both beautiful collections of work. Kehoe’s magical dreamscape world is multilayered with texture and glittering landscapes that can be truly appreciated in person. The imagination runs wild amongst the trees and seaside coasts that Kehoe creates.  In the project room, Naddeo’s work continues to explore the items and values that shape one’s identity in urban environments, informed by a nomadic life.

Both artists work is now on view until October 21st , Tuesday through Saturday noon to 6pm

The view all available works from Andy Kehoe and Alvaro Naddeo please visit the Thinkspace Gallery website.

Please note Thinkspace Gallery will be closed, Saturday, October 14th. 

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.

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.

Andy Kehoe’s “PRISMATIC” Opens at Thinkspace Gallery September 30th

ANDY KEHOE
PRISMATIC
September 30 – October 21, 2017

(Los Angeles, CA) – Thinkspace is pleased to present Prismatic, featuring new works by Pittsburg-based artist Andy Kehoe. A teller of tall tales, Kehoe’s work is known for its fantastical worlds and antlered creatures all fossilized beneath multiple laminae of cured resin. His mixed-media paintings combine a nostalgic sensibility, reminiscent of classic children’s storybooks and fairy tales, with an imaginative litheness and penchant for the experimental. His unique technique, a method of combining resin with oil paint and building surfaces through multilayered pours, bridges the sculptural with the planar through a dimensional, albeit undetectable build-up of materials. Though an intrinsic aspect of the work, the glassy optical effect, and three-dimensional depth are by-products of materiality and process rather than an end point in and of itself. Kehoe’s playful hinterland offers a window onto an unchartered multiverse where an overwhelming sense of the immeasurable reigns.

As though suspended beneath pools of glass, Kehoe’s polychromatic resin works depict solitary or companioned creatures in fields of suffused color. Like living worlds, the atmospheres ebb and flow beneath the surfaces with swollen skies and luminescent harbingers. The natural world has long been a source of inspiration to the artist and a primary theme in his poetically charged works. Drawing from a similar Romantic philosophy as that expounded in the late 18th to mid 19th Centuries, Kehoe looks to the vastness of nature as a poetic trope for both the connectivity and spiritual alienation of the human psyche. Just as the Romantics called for a return to nature in reaction to the commodification of the human soul, so too does Kehoe look to its vastness as a source of multiplicity, creative possibility, and endless gradation. Combining the mysticism of something vaguely shamanic with the playful strangeness of fantasy, Kehoe’s mythic, liminal world is both meditative and spectral.

Kehoe often incorporates sculpted elements made of polymer clay into his works, submerging the forms beneath the strata of pigmented layers. An element of interactive accident comes into play as well, as he allows his materials to combine organically under controlled circumstances. This productively tangential quality of the resin materially conveys the emotional and psychological breadth of the incalculable: a theme that underwrites much of Kehoe’s storytelling.

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. By creating works that speak to both the hugeness of the surrounding world and the smallness of the individual protagonists grappling with their versions of reality within it, he uses fantasy to tap into the metaphysical. So much is unknown, and while this multifaceted cast on reality can be both freeing and expansive, it also inspires dread, isolation, and anxiety. This allegorical universe of Kehoe’s is a strange place of reckoning, where the solitary self and the fragile comforts of companionship are forced to take stock of their fragility and impermanence.

THANKSGIVING GALLERY HOURS

Andy Kehoe
“Meeting The Elder” by Andy Kehoe

We are forever thankful to all those who have supported Thinkspace Gallery throughout the years, and as this is the week of gratitude we will be closing our doors a few days to reflect upon and be with our great art family.

Below are the gallery hours for this week.

Monday 11/21 : CLOSED
Tuesday 11/22 : 12pm – 6pm
Wednesday 11/23 : 12 pm – 6pm
Thursday 11/24 : CLOSED
Friday 11/25 : CLOSED
Saturday 11/ 26 : 12pm – 6pm

 

Opening night photos from Andy Kehoe + Kelly Allen at Thinkspace

(l-r) LC from Thinkspace, Ash, Andy Kehoe, Andrew from Thinkspace, Kelly Allen, Jay VanPortfliet

Thank you to everyone that came out this past Saturday to share in the excitement as we opened the new shows from Andy Kehoe and Kelly Allen. Both artists were in town for the reception and had a great time. It was a big night for art in Culver City that night and we captured the evening in photos to share with those that couldn’t make it.

View all the opening night photos courtesy of Sam Graham here:
www.flickr.com/photos/thinkspace/sets/72157630548255962/

Take a look at the works in Andy Kehoe’s show here:
http://thinkspacegallery.com/works/?exhibit=168&p=hiddendepths

Take a look at the works in Kelly Allen’s show here:
http://thinkspacegallery.com/works/?exhibit=167&p=hiddendepths

Both exhibits on view through July 28th

Thinkspace / 6009 Washington Blvd. in Culver City, CA / thinkspacegallery.com

An interview with Andy Kehoe

Inside Andy Kehoe's studio in Pittsburgh, PA

Andy Kehoe’s new body of work Into the Depths continues the artist’s very personally inflected exploration of memory and the personal imaginary. The work is thematically akin to fairytale, as Kehoe delves into an iconography that speaks of childhood fantasies and adult nightmares; of fears and of wants translated disproportionately into the adult’s psychic realm. The end result is an uneasy pairing of whimsy and ominousness. Kehoe uses the suggestion of narrative to imply a trajectory beyond the image plane. The viewer is left feeling as though they have had a glimpse into a much longer, and more significant vignette. Just as all effective suggestions of narrative leave one feeling the absence of its absolute resolution, we feel a mesmerizing pull to Kehoe’s narrative fragments, and wonder what else lies beneath the surface.

The setting of the work is primarily arboreal: the fairytale’s stomping ground par excellence, and its characters vary from faceless amorphous specters, to giant seemingly sympathetic animals. A perfect combination of anthropomorphic creatures, and fantastical substitutions for the human, the fairy tale speaks of reality in the realm of shadow. Visually, Kehoe uses the dramatic devices of light and contrast to expound upon the emotional and atmospheric tensions the work seems to convey. Stark whites, and strategic areas of luminous color, are drawn out in contrast to pitch blacks, and obscure earth tones. Fine lines exist against solid blocks of color and areas of textured surface. The work is graphically compelling and visually seductive; combining an economy of line with a simplicity of palette.

Materially, this new body of work marks a departure for Kehoe. Using a poured resin technique, in conjunction with his accustomed paint and ink application, the artist creates further accretions of depth. This use of layering suspends the imagery spatially and contributes to the work’s mystery, visual seduction, and complexity. As though we are looking into an ominously reflective surface that might just show us more of ourselves than we had thought, the added dimensional illusion of resin suspends our gaze. Andy Kehoe’s work is compelling, haunting, and magnetic. Into the Depths reminds us of the presence of shadows always lurking just beneath the surface.

An example of Andy Kehoe's new layered resin technique. So much depth in his new work, photos can not do them justice.

An interview with Andy Kehoe

Can you share a bit about your new body of work for ‘Into The Depths‘? What do these new works represent for you?
I feel like a lot of my work is a carefully balanced marriage between the characters and their surroundings. I like the idea of a character or creature being enveloped and intertwined in the nature around them and forming a collaboration of existence together. Sometimes this relationship is strange, foreign and a bit foreboding when characters find themselves in surroundings unknown and mysterious. And many times, it is a feeling of tranquility to being where one belongs. For this show I wanted to push those feelings and really form a partnership between characters and surroundings.

What brought about the incorporation of resin and the use of layering to your work? It’s really opened up your world in a big way.
A lot of the power of this relationship to me is in how the characters and environments interact spatially so I’ve been playing with depth and layers a lot in my work over the years. I’ve been working from back to front, layer after layer with out doing any sort of sketching or layouts. It’s been a very organic process for me and very rewarding and exciting. I always make the background first and usually paint it out fully even though I know I’ll probably paint over most of it as I progress. But for me, it feels right to place someone in an environment instead of building one around them. Then I would build up and around from there using multiple layers of lacquer and Galkyd. So in this regard, moving into working with layers of Resin seemed to make a lot of sense to me because I could push that spatial relationship even further. It now seems like a more tangible relationship with the characters actually residing in the world around them. These paintings are around 15-20 layers of resin and each layer I paint builds it up a little more. I’ve always wanted to create new worlds with my work and this feels like palpable end to that desire.

In the beginning, I was only going to make a few of these as an experiment and make the rest of the work a more standard fare. But I got so many ideas for these resin pieces right away and I decided to go all in with it. There’s just so much more to play around with and I felt like my creative options flew wide open. It was a little horrifying at first as I had no idea how they would turn out and wouldn’t know how they would turn out until they were pretty much done. I didn’t even bother doing any small experimental pieces to work it out because I figured I could be halfway done with a real and grand piece by then. I had trust they would become what I wanted them to be. All in all, I’m super excited by these pieces and can’t wait to explore this medium even further.

Andy Kehoe 'Meeting With Majesty' - oil, acrylic and resin in cradled wood panel (2012)

We’re often asked if any of the characters in your work represent yourself in any way. Care to elaborate a lil’ bit?
I guess it would be impossible for them not to represent me in some way. Each of them came from somewhere deep in the recesses of my being so I’m sure they carry little bits of me around with them. A lot of times, I believe a piece as a whole and the way it all interacts speaks more of myself and not to an individual character.

What fuels you to keep creating?
I love the challenge of creating and ultimately producing a tangible visualization of an idea that’s just residing selfishly in my mind for no one else to see. Every piece is a problem to solve and no piece is ever solved the same way. Taking that journey to find that eventual end, with all the twists and turns along the way, is endlessly intriguing to me. The way I work leaves a lot of freedom to experiment and to find more and more interesting ways to reach that end. I certainly don’t enjoy every bit of it though. Drawing little leaves for 10 hours straight is never the greatest time, but I do enjoy the result and looking at the final culmination of months of work. With each painting, I have a chance to create something wondrous, imaginative and grand. I’m also in the fortunate position to share that creation with a wider audience than most. I’d be a fool not to take advantage of that and a bigger fool not to appreciate it.

Andy Kehoe 'Profound Encounters Amid the Forest Deep' - oil, acrylic and resin in cradled wood panel

Please describe your dream project if time and money were not issues.
I would love to work on some sort of animation project and go nuts on it visually. Though I love what I do because I don’t really have to deal with people that much so that aspect could be tough. I’m also interested in some sort of interactive media like a video game. I do enjoy video games but they are just stressful as hell most of the time. The visceral excitement of people blowing up into pieces is great and all, however, I feel like so many avenues of that medium aren’t explored. It would be entirely possible to make a creative, imaginative, fun and engrossing gaming experience with out racking up a major body count along the way.

Favorite item in your studio?
I like tables a lot. Putting stuff on them is great and they like to have things built on them. So I would say all my tables as a group would win.

If you were to take us out on the town in Pittsburgh, what might we get up to?
Pittsburgh is actually a very beautiful town and a lot of it’s charm is found exploring the neighborhoods and finding some of the hidden gems. If it were Fall, I might take you to a Steelers game and do some serious tail gating involving a good deal of bourbon, brats and strong beer. It’s a pretty wild experience and certainly something you’ll remember… as long as you don’t black out along the way which is entirely possible.

Andy Kehoe 'Cloaked in a Vast and Quiet Wonder' - oil, acrylic and resin in cradled wood panel (2012)

Take a sneak peek at Andy Kehoe’s new works for ‘Into the Depths‘ here:
www.flickr.com/photos/thinkspace/sets/72157629978536854/

The digital preview will be ready this Thursday, July 5th. Please send an e-mail to contact(at)thinkspacegallery(dot)com to ensure you receive the preview. We will have 23 new pieces from Andy for ‘Into the Depths‘.

Opening Reception: this Saturday, July 7th 5-9PM – come on by and say hi to Andy

‘Into the Depths‘ will be on view July 7th – July 28th at Thinkspace