Opening Reception of Amy Sol’s “Bird of Flux” and Liz Brizzi’s “Tokyo”

The opening reception of Amy Sol’s “Bird of Flux” and Liz Brizz’s “Tokyo” was filled with fans of the artists throughout the evening. A few collectors were surprised and delighted to be able to secure their own original during the reception, and both exhibitions are nearly sold out.

The exhibition is open now through March 24th, gallery hours noon to 6 pm, Tuesday through Thursday.

View available pieces from Amy Sol’s “Bird of Flux” here.

View available pieces from Liz Brizzi’s “Tokyo” here.


Interview with Amy Sol for “Bird of Flux”

Thinkspace Projects is pleased to present Amy Sol’s solo exhibition, Bird of Flux. The exhibition features new delicately rendered paintings and the artist’s venture into sculpture, which both captures the suspended breath of introspective meditation. In anticipation of the exhibition opening, Saturday, March 3rd, our interview with Amy Sol discusses her new medium, ways of tackling self-doubt, and an inspired cocktail.

SH: In your last exhibition with us, “Garden Gamine” you had experimented with oil paints in order to continue to challenge and push yourself artistically, in this exhibition you’re introducing sculptural work for the first time – what was your journey into sculpture? How long have you known this is a direction you wanted to explore, and what was the learning curve like?
AS: I began casually playing with clay a couple years ago and immediately fell in love it! There is something magical about working in physical space, and co-inhabiting with the thing you are creating. I’m also a very hands on person, I like to craft and tinker and trouble shoot, so this was the perfect project for me. Oil-based clays are my favorite clays to work with right now. I can quickly shape ideas into blocks and later on it is forgiving enough to let me manipulate it without totally erasing the essence of the original sketch. Since oil clays are not permanent, I had to learn how to make molds and cast them. I choose resin as the first material for casting simply because I didn’t have access to a kiln. I then discovered that it is limitlessly versatile and super interesting to work with. It has been a crazy steep learning curve… but I decided to attempt this medium and accept the crunching of hundred of hours and inevitable mistakes as part of the process.

SH: What was one of the most challenging pieces in this show, and why?
AS: The most challenging piece I made for this show was “Ine” the life sized-ish bust. It was the first thing I’ve ever made in this scale. Before this, I’d only made relatively small toy-sized things. I had to overcome some obstacles in relation to physics which I didn’t anticipate due to the scale and the weight of the material itself. I began working on the piece in August last year and after three months of trying and failing, I had to revise my method altogether. I learned so much of what I know now from making this, and difficult as it was at times, it was the most fun and rewarding as well.

SH: What is your favorite aspect about what you do / being an artist and least favorite aspect?
AS: Favorite aspect of being artist is that I get to express myself in the way that comes most naturally to me and which I find the most exciting – through visual mediums. Least favorite is that requires a massive amount of self-discipline and physical demands – extreme single minded focus, being still all day, and repetitive motions.

SH: Do you ever find yourself in a creative dry-spell or burdened by self-doubt? What do you do to pull yourself out of it?
AS: Yes, I do occasionally get hit with the artist block or self-doubt.. It is still something I am trying to figure out but have gotten much better with over time. When I feel a dry spell come about I sometimes find that a simple change of scenery and stepping away can help reset my mind and allow inspiration to come from the external world. Also, talking with others artists and learning from those with have great work ethic helps keep things in perspective.

SH: If “Birds of Flux” inspired a cocktail, what would be the recipe and how would it taste?

AS: wow, haha! love this question!
okay here is my recipe :

gin / or any clear liquor
10 butterfly pea flowers brewed to make 30 ml of tea / cool
Lemon Verbana and sugar
citrus juice
splash of elderberry liquor

muddle the lemon verbana ( bird feathers ) & sugar
shake the gin with ice and pour gin
add butterfly pea tea – butterfly flower from Southeast Asia which produces the bluest edible blue found in nature.
let your mind wander into the blue abyss …
add elderberry and citrus juice last and watch the blue fade into a rich purple!

Opening reception of “Bird of Flux,” Saturday, March 3rd from 6 – 9pm

Thinkspace Projects
6009 Washington Blvd.
Culvery City, CA


Thinkspace is closed this week for the install of Amy Sol’s solo exhibition “Bird of Flux” and we’re in love with the new works, in addition to Amy’s inspired exploration of sculptures for the show.

“I took my first deep dive into sculpting for this exhibition! It was a challenge, I learned a lot! looking forward to exploring 3D realms into the future.. so many possibilities 🔮” – Amy Sol’s Instagram 

Join us for the opening reception of “Bird of Flux” this Saturday, March 3 from 6 – 9pm.

Thinkspace Projects
6009 Washington Blvd.
Culver City, CA


March 3, 2018 – March 24, 2018

Thinkspace is pleased to present new works by Korean-born painter Amy Sol in Bird of Flux. A self-taught artist currently based in Northern California, her delicately rendered paintings offer introspective meditations on the fluidity of fairytale and fiction, tapping into the endless permutations of subconscious reverie. Sol’s intuitive imagery is drawn from instinctual reserves, referencing several visual traditions of storytelling by enigmatically combining both the personal and archetypal. In her new body of work, Sol explores themes of transition, adventure, and adaptation, considering the individual faced by external and internal forces of change. In Bird of Flux physical metamorphosis is posited as a visual metaphor for inner transformation, offering the viewer borrowed ingress into an imaginative universe of muted hues, unlikely companions, softened edges, and shadowy phantasms.

Sol’s graphics and illustrative inspirations are drawn from enduring collective influences. Everything from animation to decorative design makes an appearance in her esoterically stylized worlds. Influenced by Japanese manga and the whimsy of Ghibli films, as well as the idyllic natural worlds of classic-era Disney and the Golden Age of turn-of-the-century American Illustration, Sol Incorporates references to varied cultural and folkloric embodiments of the feminine. Her works often feature a female protagonist in collusion with supporting animal or creature characters, a tradition of friendship long spun in popular culture from animé to Bambi.

Presented in a state of calm albeit apprehended action, the narratives she advances remain partial and unresolved moments, mere glimpses in a shifting arc rather than a finite plot. These imagined propositions are lawless rather than earth-bound imperatives. With a creative unhinging, Sol’s limitless imagination slips fluidly beyond the restrictions of the real into a world of surreal gentility.
Technically self-taught, Sol has spent many years perfecting her own mixed pigments and materials. Known for a distinctive palette with a subtle ghostly cast, she has in recent years experimented with more intense contrasts and darker hues. Her use of color often recalls late 19th and early 20th-century illustration, art nouveau design, and even the Celadon vases she remembers from her childhood. The diffuse effect of her pigments, however, tends to feel
generally nostalgic rather than specifically referential, as though drawn from a distant and strangely non-existent past. Her technique is labor intensive, involving the application of several layers of acrylic washes to achieve the translucence and opacity of her surfaces. She is also using oils and exploring sculpture in this new body of work. Preferring wood panel to canvas for its unique material qualities, Sol often allows the organic nature of the substrate to dictate the direction of her compositions.

Bird of Flux will include new paintings and sculptural works by the artist. In the spirit of transformation on both conspicuous and imperceptible planes, her new output fittingly reflects her own openness to experimentation and unexpected shifts. Sol’s poetically measured images retain traces of melancholic pause in spite of their idyllic beauty and calm, feeling at times like the magic of fairytale tempered by the ambivalence of the adult. Personal and simultaneously universal, the powerful quiet of her works force a reflective distance into an otherwise unmanageably chaotic visual world.

A Bit of Animated Amy Sol

The animated translation of Amy Sol’s imagination invites us into the world that will be “Bird of Flux.”  We’re anxious to show Sol’s new venture into sculpture, along with a fresh collection of paintings. Join us for the opening reception of   Amy Sol’s Bird of Flux, March 3rd from 6 to 9 pm.