‘The Gilded Age’ Editions Preview & Details

Gilded Age Horkey

The Gilded Age’
Aaron Horkey
Esao Andrews
Joao Ruas

Opening Reception:
THIS Saturday, September 12th 6-9PM

The following are the details regarding ‘The Gilded Age’ editions and screen prints. For details regarding the pre-sale process and purchasing an edition or screen print please read “Details for the pre-sale process for ‘The Gilded Age’ editions.

TGA folio backClose up of the front cover of the portfolio packaging (shown above)

‘The Gilded Age’ Portfolio Box Set
Edition of 250 portfolios (one print from each artist)
13×13 inches
Die cut and foil stamped
Folio constructed of 200# French Construction Cover Blacktop

Three giclee prints on 300gsm stock with screened varnishing (see images below)
Each individual print measures 12.75 x 12.75 inches
Editions printed by Static Medium
Folio Packaging printed by Studio On Fire

$300 per folio / set (prints not available individually)

TGA folio front

Close up of the back side of the portfolio packaging (shown above)

tga folio


Individual Featured Prints in ‘The Gilded Age’ portfolio  –

TGA Joao Ruas PrintJoao Ruas ‘Galo’

TGA Horkey PrintAaron Horkey ‘The Rotting Time’

Esao Andrews PrintEsao Andrews ‘Satellite’


Esao Andrews Screenprint
Esao Andrews
World Traveler
18×18 inches
Edition of 200
4 color screen print
Speckled off-white 100lb stock
Printed by Daniel Askar at Static Medium

Joao Ruas Screenprint

Joao Ruas
16.5×36 inches
Edition of 200
5 color screen print
French Speckletone Madero Beach stock

Printed by D&L Screenprinting

A Horkey Screen Print Color I

Aaron Horkey
The Gilded Age
24.125×32.125 inches
Regular edition of 200 pieces (31-200 available)
10 color screen print / 9 screens used
French Black Licorice 100#C stock
Printed by Ben Lafond at BRLSQ, August, 2015
Regular Edition: $100 each

A Horkey Screen Print Color II

Aaron Horkey
The Gilded Age
24.125×32.125 inches
Variant edition of 100 pieces (31-100 available)
10 color screen print / 9 screens used
French Black Licorice 100#C stock
Printed by Ben Lafond at BRLSQ, August, 2015
Variant Edition: $200 each


TGA Pin Set

Embossed Soft Enamel Pin Set

One pin each (L-R as shown above) from Aaron Horkey, Esao Andrews, Joao Ruas
*Ranging in size from 1.25″ to 1.5″ inches
Hand-numbered in gold ink out of 100
Comes on backer card in clear sealed sleeve
$35 for the set of 3 (not available individually)

Once again please review the full details of how the editions will be released and sold on our other post, ‘Details for the pre-sale process for ‘The Gilded Age’ editions,‘ if you are determined to get one of these fantastic prints or portfolios.


Details for the pre-sale process for ‘The Gilded Age’ editions

Gilded Age Horkey

‘The Gilded Age’
Aaron Horkey
Esao Andrews
Joao Ruas

Opening Reception:
Saturday, September 12th 6-9PM

Collector Previews for both shows will be shared on Wednesday, September 9th. NO additional details of any kind are available currently regarding original works.

Please note: Horkey and Ruas will each have nine new works and Esao will have eight. If you’d like to be added to the preview list, please sign up for our mailing list on the Thinkspace Gallery website.

Here are the details on how and when we will release ‘The Gilded Age’ editions:
We’re excited to share these details with everyone and can’t wait for you all to see the exhibition. There has been a slew of moving parts for this show to sort out, awaiting final invoices to come in, making sure all the production at various companies was on track, etc. before we felt confident in sharing everything with you all. So, here we go…

  • There will be a folio set in an edition of 250 featuring a 12.75×12.75 inch varnished giclee print from each artist in the exhibition, housed in a deluxe folio similar to the recent ‘Vacuum’ set. Three prints total, only available as a set.
  • Each artist will have an individual screen print, in an edition of 200. Each sold separately and of varying size.
  • There will be an enamel pin set featuring a deluxe soft enamel pin from each artist ranging in size from 1.25 to 1.5 inches. Available as an edition of 100 and only as a set of three.
  • Images and pricing for all of the above editions will be shared next week (we are just awaiting final images and a photograph of the completed folio set and enamel pins).

Out of respect to our neighboring businesses, we do not want anyone lining up overnight or before the day of the show. To make sure this does not happen and to avoid making anyone sleep overnight or sit all day in the heat, we will be passing out numbered tickets. The number you receive will correspond to the folio sets and/or individual screen prints, guaranteeing you first choice at those corresponding numbers.

The numbered tickets will be passed out in random order, so those showing earliest could get a higher number, making it a total in-person lottery system. We will, however, aim to give out 1-200 first, helping to alleviate any worry of showing early and being shut out of the individual screen printed editions.

We will aim to pop outside on the morning of the exhibition (Saturday, Sept. 12th) every 30 minutes from 9AM until 12 Noon (9 / 930 / 10 / 1030 / etc.) to hand out tickets to those awaiting us outside. Please do NOT show up before 8AM the morning of Sat., Sept. 12th. Anyone gathering before 8:30 am will be asked to leave and come back at 9:00 am. We’re serious in trying our best to be courteous to our neighbors, prevent lines, and be fair.

Prints will then be pre-sold that same afternoon (Saturday, Sept. 12th) from 1PM to 4PM to avoid a long line at the opening and to help ease the stress of the sale for everyone. The numbered ticket you receive will give you 1st dibs on anything corresponding to your number. Those that get a number higher than 100 will not have a chance at a button set unless someone that did get 1-100 passes. Those with numbers 200-250 are not guaranteed an individual screen print, but will get one of the folio sets being offered guaranteed. Odds are not everyone will pickup each edition, and thus the love will be spread. There is a strict limit of one per person on each edition, no matter the circumstances. Horkey’s individual screen print will have ONE variant, but please note now you are only allowed to purchase one of them (no one is allowed to purchase both editions, this from Aaron himself).

The opening reception then takes place from 6 to 9PM with all artists in attendance.

To help with the worry and wait of those with a number lower than yours, passing over an edition to open it up for someone with a later number, we feel that come 7PM during the opening reception, we will open up all editions for sale. If you received a number that morning, I would think it a good plan to come to the 1st window of sales or arrive 1st thing to the opening at 6PM. So, come 7PM, ALL editions will go wide for open sale. We are not calling numbers or such, so no need to worry about missing out, but after 7PM the tickets become null and void.

We went over many different scenarios and at the end of the day, this is the one we all agreed on and has been approved and given the thumbs up by all three artists and those that work closely with them. We hope this works for everyone, we know we will never be able to make everyone happy, but please know we put a good bit of thought into this and all is now set.

None of the editions are being held back for later on-line offering. If any remain come the end of the exhibition, we will share details at that time. For now, the editions will only be available for in-person purchase at our gallery during the run of ‘The Gilded Age’ exhibition.

Thank you and we look forward to all seeing the works for the 1st time in person. Each artist has delivered in such a huge way, being pushed by one another to deliver simply incredible new bodies of work.

– The Thinkspace team

The Gilded Age Exhibition featuring Aaron Horkey, Esao Andrews, and Joao Ruas

The Gilded Age Postcard Ad

The Gilded Age – Aaron Horkey, Esao Andrews, Joao Ruas
September 12 – October 3, 2015

Thinkspace Gallery  is pleased to announce its highly anticipated three-man exhibition, The Gilded Age, featuring new works by Aaron Horkey, Esao Andrews and Joao Ruas. A rarely exhibited graphic designer, illustrator and artist, Horkey creates intricately detailed hand-drawn silkscreens, highly coveted by collectors the world over. Immediately recognizable, his aesthetic has permeated print culture at large, and is one of the most distinctive in contemporary concert posters and album art. When approached by the gallery’s Director and asked to describe his ideal group exhibition, Horkey immediately suggested Esao Andrews and Joao Ruas as choice gallery companions. All three artists share an inexhaustible penchant for detail, a preference for all things ornate, and an antediluvian sensibility that tends towards allegory and myth. Enter The Gilded Age: the fortuitous result of a seemingly unlikely pet-project, and a rare and unprecedented opportunity for collectors, fans and enthusiasts to see these three illustrative giants wring life from inanimate sands.

Aaron Horkey lives and works in his rural hometown of Windom, Minnesota. He is renown for the iconic animalia and exquisite hand-drawn typography he has created for heavy-weight bands like Isis, Converge, Boris, The Melvins and Neurosis, among many others. Horkey stands alone as an uncompromising talent, famously only producing his highly sought after commercial work in the absence of art direction. A tireless obsessive, his aesthetic conveys horror vacui, or the paradigmatic dread of emptiness shared by both the dense sculptural reliefs of the ancients and the ornamentation of late 19th century graphic design. Linear detail is worked and accumulated to a staggering degree in “a Horkey”, and the surfaces are often densely impenetrable with layers of decorative, organic motifs and animals of surreal mythological proportions.

A visual storyteller, Horkey creates a post-apocalyptic, quasi-naturalism, Gothically stylized and yet reminiscent of the late 19th century’s penchant for beautiful design. His pieces, though clearly contemporary, reflect the primacy of craftsmanship and the love of ornament championed at the turn of the century. A time of economic growth, industry and expansion in America, the Gilded Age is characterized by an aesthetic return to the organic, ornate and man-made, but the era also betrayed a melancholic awareness of industry’s destructive supremacy, and feared a future dominion of the machine. This darker sensibility is consistently apparent throughout Horkey’s work; an artist always returning to the humbling power of the land as a theme, and to its momentums of survival and decay. Helmeted birds, airborne manta rays, prehistoric insects and winged buffalo, are but a few of Horkey’s recurring cast of characters. Evading a specific sense of time, history and place, the natural mythology Horkey has painstakingly crafted is markedly, and perhaps most tellingly, absent of humans.

Esao Andrews is an illustrator and painter based out of Los Angeles. His oil paintings on panel blend figurative and organic elements into beautifully haunting and distorted dreamscapes. Often surreal, eroticized, and exaggerated to the point of the grotesque, his works have been compared to Mark Ryden’s predilection for thorough stylization, and John Currin’s contemporary figurative Mannerism. An illustrator who has produced work for DC comics, and album art for bands like Circa Survive, Andrews creates emotive narratives and allegories through the intuitive juxtaposition of imagery. Often combining human and natural worlds in a mashup of symbolic gestures, Andrews’ highly detailed works resonate with the ghosts of our sub-conscious. Like worlds unto themselves, at times bordering on nightmare, his paintings provide glimpses into alternate and parallel psychic universes, capturing moments of meditative solitude, quiet realization and melancholy.

Brazilian artist Joao Ruas is similarly preoccupied with detailed stylization, narrative symbolism and the darkly emotive surreal. A consummate illustrator and designer from São Paulo, Brazil, and creator of Fables covers, Ruas combines ancient references with the contemporary, to create timeless visual mythologies. A gifted figurative artist, his works explore the universal themes of transition, power, strength, transformation and loss with an empathetic tenor. His haunting works are inspired by the age-old function of myth as an antiquated system of attributing meaning to natural and human chaos. Ruas’ beautifully executed lines, love of detail, and quasi-Gothic aesthetic, also recall the late 19th century golden age of illustration, and its propensity for lush hand-drawn worlds. Fascinated by the enigmatic mystery of lore and symbols, and drawn to the use of recurring contrasts, Ruas punctuates his work with a system of evasive signs. His pieces always tend to reveal the spectral traces of graphite in the end product, a choice that discloses both the presence of the artist and the ghostliness of his universe.

The Gilded Age presents three exceptional artists – two of whom are hand-picked by the inimitable Horkey – whose respective work, though entirely unique and contemporary, recalls many of the sensibilities shared by the late 19th and early 20th century return to craftsmanship, narrative and ornamentation. Particularly relevant given our entrenchment in an age of digital reign and impermanent culture, The Gilded Age betrays a nostalgic yearning for the maximalism of the human hand.

Aaron Horkey GA

Aaron Horkey Work In Progress Detail Shot

Esao Andrews GA WIP

Esao Andrews Work In Progress Detail Shot

Joaoa Ruas WIP Gilded Age

Joao Ruas Work In Progress Detail Shot

Preview of ‘ The Gilded Age’ in Juxtapoz’s September Issue

September Juxtapoz

Thinkspace’s September exhibition ‘The Gilded Age‘ featuring new work from artists Aaron Horkey, Esao Andrews, and Joao Ruas received a ten page spread in the latest Juxtapoz. Now available on newsstands and online, make sure to pick up a issue of the September Juxtapoz to see an incredible preview of the work that will be at Thinkspace this fall.  A great piece in which all three artists were interviewed.

Gilded Age Juxtapoz


An interview with Esao Andrews

Esao Andrews "Untitled (with veil)" - 12x18 inches - oil on panel (2011)

The new series of paintings comprising “Nowhere” continue Esao’s haunted and lonely landscapes, portraits and scenes that merge surrealism with real world emotion along with inanimate objects and anthropomorphized animals that constitute their own sense of will and purpose. Many of these paintings are meant to stand alone, but they all suggest a changing of seasons and the anticipation of new beginnings. “Nowhere” refers to a desolate place that stands as a seemingly bleak starting point where time has been passing by unnoticed. These images show signs of hope; that fleeting moment where the subjects have resolved their wait and emerge for their first steps towards a new life. A silent film also plays showcasing time-lapsed details of the work being created and strengthens how they relate to one another.

Esao Andrews "Homesteader" - 8x11 inches - oil on panel (2011)

An interview with Esao Andrews

Can you share a lil’ bit about your new body of work for ‘Nowhere”?
In the past when I’ve built a body of work for a show, I’ve always treated each piece like its own contained story. Kinda like a song from an album, where a few songs may have a reprise, but each song in general stands alone. There are several that are in their own and some a continuation of anthropomorphizing inanimate objects, but most of the paintings in this show touch on fragile moments between lost hope and starting a new life.

What fuels you to keep creating?
I’m not sure. Everyone needs to be challenged in some form as a way to feel purpose and grow. Creating art is just a form of challenging yourself and as everyone you’ve admired gets older and better and new inspirations emerge, the personal challenge gets renewed. Like anybody, I feel satisfaction to successfully interest someone with an image, to get a message across. Creating more work is an attempt to keep their audience. I’ll create art in my sketchbook that I spend a lot of time on but necessarily don’t want people to see, so the reason I do it is not as clear. Maybe all of it is just practicing.

Please describe your dream project if time and money were not issues.
As long as I can remember, I’ve always wanted to make a giant hedge or walled labyrinth park and would like to make giant stone fountains hidden throughout.

Esao Andrews "Persian" - 12x18 inches - oil on panel (2011)

Favorite item in your studio?
Definitely it’s this dog named Soybean.

Is there anyone in particular, artist or otherwise, that you’d like to give a shout out to here?
As part of my New Years Resolution, I’m going to personally contact everyone I’ve been neglecting to give a shout out to.

Any shows or special projects coming up after your exhibit with us here at Thinkspace you would like to mention?
Aside from participating in a few group shows the next coming months I have some big thaumatrope like paintings on the drawing board. I really want to do more drawing, some screen printed pieces are in the works too.

Esao Andrews "Halfway Away" - 24x24 inches - oil on panel (2011)

Esao Andrews ’Nowhere’

Reception with the artist:
Sat, Jan. 7th 5-8PM

Check out the works in ‘Nowhere‘ here:

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