Opening Reception for Seth Armstrong’s ‘Pretty Deep Shit’ & Brian Mashburns ‘ Axiom’

We closed out April with new exhibitions from Seth Armstrong and Brian Mashburn that drew in quite the Saturday night art crowd. Armstrong’s ‘Pretty Deep Shit’ debuted a new body of work that was a love letter to the golden hour and shimmering night lights of Los Angeles. Rich saturated colors and voyeuristic details, Armstrong’s work is truly some that must be seen in person to fully appreciate the sometimes literal cheekiness of his pieces.

In the project room Mashburn’s ‘Axiom’ debuted a new body of work that was inspired by the current political climate and environmental concerns. He continues to take us on a tour of this other world where the clouds are thick and the mountains far in the distance.

Get to know the artists better in our interviews with Brian Mashburn and Seth Armstrong.

Available work from ‘Pretty Deep Shit’ and ‘Axiom’ can be viewed on the Thinkspace Gallery website.

Interview with Seth Armstrong for “Pretty Deep Shit”

Thinkspace is proud to present Seth Armstrong’s latest body of work ‘Pretty Deep Shitin our main room. Armstrong, a Los Angeles native, and based artist uses oil paints to capture the paused observation, catching a scene one might not be meant to be a witness.  In anticipation of Armstrong’s upcoming exhibition with us, we have an exclusive interview with Seth Armstrong to discuss his feelings about Los Angeles, a day in the studio, and how he pushes him to grow as an artist.

Pretty Deep Shit’s opening reception is from 6 – 9 pm this coming Saturday, April 29th in our main room

SH: What inspired your latest body of work?
SA: My personal life, basically. I’m looking at the artwork right now and it’s a map of where I spend my time and people I know. I can think it’s more complicated than that when I’m doing it, but sitting here now when it’s done, that’s how it looks.

SH: What is your favorite and least favorite part of LA? What do you think is the most overrated & underrated aspects of living in Los Angeles?
SA: I love the weather, I love the proximity to the ocean, I love my backyard, my parent’s backyard, backyards in general. My least favorite thing is the fact that I only see my friends on the Westside once a year.

SH: Do you imagine the people within your painting have connected story lines? Or are the all independent from each other?
SA: I like to think that they’re all related.

SH: How do you challenge yourself to grow and progress as an artist?
SA: I try not to paint the same thing too often. I feel like there are some aesthetic qualities that my paintings share, of course, but I don’t want to have a gimmick.

SH: What are your three favorite colors?
SA: Red, Yellow, and Blue.

SH: If you were to collaborate with any artists dead or alive, who would it be and why?
SA: Does Ben Franklin count as an artist? David Hockney, Edward Hopper, and Ben Franklin.

SH: What do you enjoy using oils over other mediums?
SA: I like their unpredictability. I never know quite what I’m gonna get, which is challenging and fun.

SH: Can you walk us through what a day in the studio might look like?
SA: My dog wakes me up by dropping toys on my face. I take her somewhere and get coffee. I come home, eat breakfast, answer emails and bullshit. Hopefully, by 11 or noon I’m painting. I paint until dinner time, take a break for an hour or two, then I’m back in the studio for another few hours at least.

SH: What excites you about other artists work?
SA: I like seeing the process within the finished piece. I like seeing the evidence of the work put in. And I like texture.

SH: If you work was translated into a cocktail what would it be made out of and taste like?
SA: Half coffee, half beer.

Seth Armstrong’s “Pretty Deep Shit” opening April 29th

Seth Armstrong
Pretty Deep Shit
April 29 – May 20, 2017

Thinkspace is pleased to present Pretty Deep Shit, featuring new paintings by artist Seth Armstrong. In this new body of work, the Los Angeles-based painter, born and raised, explores LA as a dystopian landscape, inspired by its off-kilter charm and its reputation for being a cultural kaleidoscope of beauty and barrenness, depth and vacancy. Known for paintings that self-consciously capture the act of looking – whether as a voyeur in trespass, a spectator in an audience, or a participant in the landscape – Armstrong captures the simultaneity of the city as a place of endless, contingent narratives, jarring interruptions, and suspenseful pauses.

Pretty Deep Shit is a tongue in cheek nod to the weight of simple things. In a time where our global and national political climate is uncertain and precarious, and the general cultural atmosphere divisive and fraught, Armstrong observes the localized, the personal, and the momentary. He looks to the poignancy of small observations, quiet corners, and unassuming moments – the intimacy of a world that continues to unfold in private spaces in spite of larger or more daunting world events. His past works have often captured a stylized take on Americana brought to life with a cinematic edge, in this new body of work similar impulses remain though they feel scaled back, more meditative and tempered, closer to observation and memory than to the staging of cinema.

The exhibition is about Armstrong’s lived observations of LA, presenting a more cohesive and intimate arrest of the city that tends to polarize or exert a gravitational pull. There’s a code of exemption in LA, a kind of freedom and fluidity from the mores of other cities that Armstrong captures through its stylization. Everything from Craftsman bungalows, parched Echo Park landscapes in the midst of drought and shiny seas of stalled cars, to motley downtown architectures, high rise windows lit by night, and voyeuristic glimpses of women in domestic spaces, reflect the ongoing, and inexhaustible, stories of the urban sprawl. Always in search of the oddly beautiful in unlikely places, Armstrong captures the grittiness and allure of a city that inspires the deepest of love/hate relationships.

Armstrong’s works offer cleverly crafted moments of suspended or anticipated action. Often the absence of human subjects alludes to their unseen presence in absentia – the traces of their proximity and activities linger in subtle seeking, much in the way the city itself is always alive with invisible stories. Though we may not have access to the narrative, its threads are implied as we move through the depicted spaces, objects, and structures. This open-ended interrelatedness is revisited throughout Armstrong’s works. A shared current connects each piece, intended in this case to be read sequentially as moments in a larger narrative arc, though each stands alone. Some offer vast views, and others contracted intimacy, moving freely in and out of public and private spaces, but they convene when seen together as a whole, and marry voyeur and subject in a single ambiguous vantage point.

Technically, the paintings are highly detailed and tend to move between looser and more painterly executions to tighter hyperrealistic ones. Each oil painting is executed slightly differently by the artist, rather than formulaically, resulting in varied physical textures and surface qualities in each. Armstrong is finessing the paintings in this current body of work, glazing details and working into the minutiae now more than ever; they feel even richer and more vibrant as a result. Though Armstrong has a preference for bright and highly saturated palettes, the tone of the work is anything but. A discomfort and strangeness loom throughout in even the brightest and most colorful scenes. His use of stark contrasts and exaggerated light contribute to a feeling of hypersensitization – a world of strange edges, soft swells, and unfamiliar intensities. Something slightly off-kilter haunts, pushing even the most seemingly familiar scenes into the realm of the subtly surreal.

Studio Visit with Seth Armstrong for “Pretty Deep Shit”

Seth Armstrong’s paintings self-consciously capture a sense of looking, arresting moments with cinematic detail and voyeuristic curiosity. Varying in scale, the paintings offer views that are alternately intimate and vast, moving expertly between the monumental and the minute. Laden with detail and suggestion, each piece offers a moment in the trajectory of a larger narrative, and the viewer is compelled to realign the fractures of these inconclusive moments. Hanging the works on suggestion rather than on the overt, Armstrong builds tension and excitement in every painting with the possibility and expectation of action.

Very excited to share this new body of work with you all soon. Stay tuned for more sneak peeks and details as we grow closer to the show.

Pretty Deep Shit opening at Thinkspace Gallery, April 29th.