Artist Interviews – Sour Harvest

Interview with ABYS ‘Oneiria’ | October 10 – October 31, 2026

Thinkspace Projects is excited to host the debut North American solo exhibition from ABYS (aka Julien Brouand) out of France. ‘Oneiria’ will showcase 17 new acrylic paintings from the celebrated French street artist.

Known for his striking public murals and technical graffiti roots, ABYS has transitioned his signature larger-than-life characters onto delicate gallery mediums for ‘Oneiria.’ This special exhibit offers an intimate look at the evolution of ABYS’s illustrative mythology and his intricate narrative universe, populated by an expressive gallery of wacky, stylized characters that bridge modern animation with contemporary art.

Our interview with ABYS shares his most memorable moment that has influenced his artistic journey, explains his creative process and recurring themes/subjects, and reveals his most unexpected inspiration he would like to pursue.

• What motivated or inspired the collection you’re presenting in this exhibition?

« Oneiria » is a small journey on the border between reality and the world of dreams. Each painting evokes an idea of travel, of movement, like an odyssey inspired by the existing world, to which I bring my own more imaginary vision.

From the desert to the depths of the sea, through the jungle and more fantastical lands, I tried to explore a wide range of ideas in order to offer an experience that is rich and varied.

• Could you walk us through your creative process from conception to completion of a piece?

I don’t really have a specific process. I try to find a way to make different elements that I find interesting, either visually or symbolically, coexist harmoniously.

I have a lot of sketchbooks filled with bits and pieces of ideas here and there, and a lot of unfinished things. When I need inspiration, I flip through them, pick things out, take fragments of ideas I had at some point, and look for a way to complete and improve them until I have a coherent whole.

Often, I start a painting with a general foundation and then add details as I go, because new ideas come to me while I’m painting.

• Are there any recurring themes or symbols in your paintings? If so, what do they represent to you?

In general, my painting is inspired by organic forms. I like natural shapes, and I love the beauty and diversity of the animal and plant world. It offers an almost infinite variety of possibilities and combinations. It’s incredibly rich in terms of textures, compositions, shapes, colors, etc.

I also have a lot of plants at home, so I have these little plant characters that have become recurring elements in my work. I like being able to give them a visual expression. In general, I like the idea that everything can become alive in my paintings. Even objects can become living and expressive, and can help complete the narrative.

• Can you share a particularly memorable moment or experience that influenced your artistic journey?

I’ve always drawn. My father passed that on to me from a very young age. It’s silly, but at school, it didn’t really seem like being good at drawing was much of an asset for succeeding.

As a child, I was always a little ashamed of being good at nothing but drawing. And then I remember that when I was 10, I won a drawing competition that gave my whole family the opportunity to go on a trip. I wouldn’t say that it directly influenced my path, but I think the pride my family felt at that moment encouraged me to invest myself 100% in this direction, even if it meant not following the typical academic path.

• Are there any specific artists, movements, or periods in art history that have significantly influenced your work?

I’ve always admired the work of Mucha, Schiele, Émile Friant — who is more local to me — and many others, but they aren’t necessarily direct influences on my work. I’ve always been more inspired by illustrators, animators, character designers and other creators from that world. To be honest, I still have a hard time considering myself an artist.

When I was younger, I used to skateboard in a place where there was a lot of graffiti. Over time, I realized that I wasn’t very good at skateboarding, but that I could draw. Naturally, I became interested in mural painting. At the time, I was heavily influenced by Nychos, the drawings of Darkelixir, Skio, Dulk, Etam Cru, Arsek & Erase, and many others.

• In what ways does your cultural background or personal identity inform your artistic perspective?

When I was a child, I dreamed of becoming a character designer for video games or animated films. I wanted to be able to bring my characters to life, imagine worlds, etc. I started studying with that idea in mind, but nowadays, the work is mostly done on computers, and sitting behind a screen all day wasn’t making me happy.

At the same time, I met some graffiti artists and started spending my days outside, painting. I had never imagined that it could become a job, but things became more serious and I eventually started making a living from it.

So obviously, you can still find my first loves, animation and illustration, in my work. Since I can’t actually animate them, I try to make them as lively and dynamic as possible, and I incorporate as many elements as I can to create a narrative.

• If you could collaborate with any artists in any sort of medium (i.e. movies, music, painting) who would you collaborate with, and what would you be making?

Musically, I don’t have any particular artist in mind, but I would have loved to develop a visual universe and create characters for a musician, like Jamie Hewlett did with Gorillaz.

I have the 20th anniversary Art Book, and I would also have loved to simply have the opportunity to create a cover in my own universe.

I also particularly like everything that Label 619 does, an independent French label for artists. I’m not a writer or a storyteller, but if I found the right person to collaborate with, making comics is something I would love to do one day.

• How do you approach the naming of your pieces, and what significance do titles hold for you?

It’s always a difficult choice for me. I try to paint scenes that are evocative while also leaving room for interpretation. Giving a painting a title that is too explicit can limit that freedom of interpretation. So I try to choose a title that evokes an idea or a feeling, without restricting everyone’s imagination.

• Do you find yourself drawn to certain subjects or scenes repeatedly? If so, why?

As I mentioned earlier, and for many reasons, I’ve always been drawn to the living world, animal and botanical subjects, etc.

But more than the subjects themselves, what matters to me is sharing joyful and lively scenes. I think we live in a very complex world and, on my own small scale, bringing a little bit of joy into it is an act of resistance, in opposition to what is imposed on us every day.

• If your paintings had a soundtrack, what kind of music would we hear while viewing them?

I listen to music every day, from morning to night. I have very eclectic tastes, and it has a huge influence on what I draw. I grew up with metal and classical music. When I discovered graffiti, I became interested in hip-hop, which then led me to jazz, and so on. So the soundtrack would change from one scene to another.

I remember that when I was a child, I also spent entire days redrawing Iron Maiden album covers. I think that’s what gave me a taste for the art of detail.

Basically, I need a variety of musical environments in order to create diverse work myself.

• What’s the weirdest or most unexpected inspiration you’ve ever drawn from for a painting?

I have a six-year-old daughter. I’ve never encouraged her to draw, because I already spend my life drawing. When I have time to spend with her, I simply want to enjoy doing something else together.

But she grew up watching me draw and, without me ever teaching her anything, she became passionate about drawing. Right now, she makes the best drawings in the world, at least for me.

There is a sincerity, naivety and authenticity that only a child can have. I would like to make a series of drawings with her, just for myself, as a memory for later, before that disappears. Because right now, she is the one who has the best inspiration.

Interview with RJ Quiralta ‘Nocturnos: Painted Midnight Poems’ | October 10 – October 31, 2026

Thinkspace Projects is thrilled to be presenting our debut solo exhibition with RJ Quiralta from Mexico. ‘Nocturnos: Painted Midnight Poems’ features 16 new works, including a series of works on canvas, paper and found objects that all magically highlight. RJ’s current ‘Nocturnos’ series emulates late-night inspiration, mixing vintage and modern visuals with mythological and platonic themes of love and companionship. His work often feels like a stage play, inviting viewers to sit in the front row and witness a blend of humor, nostalgia and emotional depth.

Our interview with RJ explores the motivation for this new body of work, shares how his cultural background has influenced his artistic style, and reveals where he gets most of his inspirations from.

What motivated or inspired the collection you’re presenting in this exhibition?

When I was younger, while on my middle school and high school years, I got really drawn towards poetry and classic literature, as it was what we learn in school, and spend quite a bit of time composing rimes and short story to the best of my abilities, then I found out that because those styles where not in use or fashion any longer I was rejected from contests or literature events, then I didn’t pursue them anymore. Among my favorite was those of dark and bohemian themes and stories, the likes of Dickens’ and Poe’s had a big impact on my imagination, and although I have many other influences in my artworks, some of the foundations are always base on those old darkly poems and stories. In the Spanish literature, there is a sub genera called Nocturnos, literally ‘nocturnal’, they are compositions from a mix of melancholic, bohemian, romantic and dark topics. It is said that those are usually composed in the late night, when our brains get naturally “drunk” with wild inspirations. With this body of work, I’m bringing back that inspiration from my days of youth gone, now I’m using graphical interpretations of verses I didn’t have a chance to write, and just like in the Nocturnos, my collection is a series of funny and dark themed stories, platonic love, friendship, mythology adorned in vintage and modern visuals.

Could you walk us through your creative process from conception to completion of a piece?

To me, is very important to have a clear image in my mind of what I want a piece to be before I start, and for that I have to make first a story, I found this to be my most difficult and lengthy part of the process as I don’t want to just repeat a piece, but rather a formula. The final composition needs to be a “snapshot” of those stories. After the idea is conceived in my mind, I look for references, photos or illustrations, I look for a pose that would fit that composition then I make a very loose drawing. I always use geometrical grids for objects and actions placement, then I fit my composition within those lines, I found out this approach makes a big difference on the way my artwork develops into the final piece. Normally I draw a loose idea in any piece of paper I find around, but the main sketch is most of the time right on the canvas, thus lost to the paint. Although the pieces end up with some differences and new parts from the original sketch, I personally feel the need to have the process in control, unlike free style drawing or painting, which I enjoy too, making these pieces true to my original compositions, makes me focus and learn new approaches and techniques as I force myself to figure how to achieve the images in my mind. After a piece is done I still let it sit for a few days before the final protective coating, some times I need to go back to it for a touch up or detail I forgot. And of course, to stay able for this process, I make sure to have always some physical activity or exercise, and coffee and sweets is a must, it might sound funny or cliché, but this allows me to produce artwork much better than otherwise, I can only assume is the rush of blood in the brain.

Are there any recurring themes or symbols in your paintings? If so, what do they represent to you?

I do tend to go back to a kind of cute-dark environment, this is because I always enjoyed the Halloween season, the vintage visuals more than the modern gore, as a Mexican kid, I was totally aware of this holiday but wasn’t something done in my town, a least not like in the T.V. or postcards. You might think we had “Dia de los Muertos”, we did, but it wasn’t anything like today’s celebration, in fact it wasn’t a celebration at all! I’m not a believer of the supernatural, yet it fascinates me, I enjoy the iconography and concepts quite a bit, witches and magic, ghosts and skeletons. Is strange but I feel nostalgic for something I never experience myself. Although in part it might have been vintage cartoons and illustrations I saw as a kid.
Sometimes I think it has to do with the cooling of the weather, I’ve had always struggle with heat, health wise, thus Fall always felt like such a relief, thus my joy for the season might be the association of Halloween and Autumn temperatures.

Then we have the skull, I’ve have been drawing skulls since I can remember, as a kid it made me think of pirates, later as a teen I though it like a cool, defiant and fun icon. I’ve been using it in so many ways, after all these years now I realize how versatile it is, it can have many meanings depending who sees it, and depending on the rendering styles, can be from something very child oriented and cartoon like, to something very dark and or philosophical. Recently I come to a realization that the skull is also a vehicle, in true reality we are only our brains with extended systems of organs, but we live inside the skull, is like a cabin from where we control these bodies we use, thus I think that in part, our attraction to skulls is similar to what we have for a car or a house. In my latest artwork, the skull is that unfortunate fellow who loose his soul to for the sake of love, then he just hangs around with the rest of the characters, is the clumsy friend, they are mostly the remnants of lost souls that have been trapped or devour by the Nymphs beauties, and like in many depictions of the skulls before me, it defies the idea that dead is the end, but rather the next episode, it represents a bit of both, impermanence and eternity.

Can you share a particularly memorable moment or experience that influenced your artistic journey?

When I finished high school, I stopped pursuing education and thus never had any knowledge on anything academic wise, and although I always been drawing and making up stories, I never had an actual art or design training. I grew up not understanding or even knowing about the art scenes, contemporary art movements, artist or anything related to it. I always though that to be at any art gallery you would need a least a degree in fine art, illustration or design. In part, because of this ignorance I didn’t purse art seriously until I got old. Now, I still remember the first day I saw Bob Ross in my early teens, I think that definitely kept very deep in my hearth the aching for art making even when I didn’t pursue art for most of my early life, seeing him painting was definitely one of my early influential experiences, that stayed dormant until much latter, in the mid 2010’s when by mere chance while visiting the Japanese American National Museum in LA, I got to see the Giant Robot Biennial exhibition, and completely opened my eyes towards the art that has been flourishing in the LA area, and beyond, but most important it reignited my thirst for art making, I started dreaming that I could belong to one of the art scenes, it made me idealize myself with purpose, it inspired me in the right direction, that’s the power of my fellow artist and their work totally enchanted me. I really hope one day someone gets the same motivation seeing my own work.

Are there any specific artists, movements, or periods in art history that have significantly influenced your work?

I can’t think in any specifics, in fact, growing up in a little town in the country side of Mexico, isolated me from contemporary art movements and artist, and I wasn’t a great student to begin with. When I moved to LA, I become a hermit of sorts and didn’t notice the huge LA art scene happening literally across the county, but as a kid from the end of the 70’s I did had a lot of pop culture visuals from the 80’s. My Dad used to have a lot of science and auto mechanic magazines and books from the 40’s all the way to the 70’s, I spend hours contemplating them as almost everything there was illustrated, from motor diagrams and vacuum tube radios to pretty women in appliances or soda advertisements, those images where really enjoyable and thus I come to realize later in life that they had been a strong influence in what I do. Vintage cartoons and comics have also played a role in my style and I often got to contemplate many illustrations from fairy tales on school text books which had inspired me with my compositions. Among the media I was exposed as a kid was Japanese animation, oddly, we had a least a couple of series always on air on regular T.V. As an adult in LA, I started frequenting the Libraries and after my nephew recommendations, I got to get myself into Japanese comics: Manga, these where definitely an important influence, in some series, the depiction of woman is quite different from the western comics, manga has managed to portrait beauty and strength together, that is something I consciously seek to incorporate in my artwork.

In what ways does your cultural background or personal identity inform your artistic perspective?

One of my hobbies since I was young was genealogy, through many years I had the opportunity to read a great number of old records and manuscripts that goes back four to five centuries. This allowed me to get familiar not only with my own roots buy with the real formation of today’s Mexico, learning how much diversity we actually had during the colonial days explains a lot of current customs and traditions, we are the product of a cultural fusion, and although politically we’ve been forced into a nationalism and the belief of a fictitious “only indigenous” background, our culture says way more than that, with influences from Africa, Middle East, South East Asia, Europe and all the tribal Indigenous nations and states that ruled what’s today Mexico, we are in fact really colorful people. Art wise this has allowed me to embrace much more than I though I should, my artwork is, like my background a mix of all, a “Mestizo” like myself, it gives me freedom of expression and doesn’t limit what I can produce. Understanding this rich background also makes me appreciate the elements I borrow from any place or culture around the world, I don’t do it out of an impulse or a fad, I do it because it makes it human, and I hope that this joy I feel producing with all these “colors”, it becomes a joy for anyone who sees my paintings.

If you could collaborate with any artists in any sort of medium (i.e. movies, music, painting) who would you collaborate with, and what would you be making?

Doing painting and illustration art has been a delight and is my passion, but I must admit that I truly enjoy all kinds of arts and crafts, I have met so many great artist in LA and some through the internet that do all kinds of things that I would love to collaborate with all of them. From toy making to sculpture and ceramic, carving, animation, comics, music, you name it. Is just so much fun to create. I already had a couple customized toy opportunities but I really want to sculpt some of my own characters, carving and clay or ceramic sculpture are definitely on my to do list, in fact I had done a little of both before. A mural is another goal of mine, I’ve never painted in big scale, would be great to do so with a fellow artist. Another big one in my bucket list would be to curate an exhibition, a drawing/illustration one, and invite artists in all kinds of disciplines, I think that’s like the ultimate collaboration. That would be an awesome achievement.

How do you approach the naming of your pieces, and what significance do titles hold for you?

I always try to make sure that the tittles are not too philosophical and yet not too explicitly plain, they must make sense and go along with the composition but I like them to be playful at times, or sound like a book, novel or movie tittle. Sometimes I can’t come out with anything interesting so I try to look for “sophisticated” or less common synonyms, and maybe come out with something funny. It might not always work but I want for people who read or listen the tittle first, to get very curious about the artwork. A funny thing is that now that I’m older and had done many pieces, I think I might had repeated tittles unknowingly, I know I need to do a database of my own but is something that doesn’t amuse me to do. By the way my tittles go some times through my wife and kids seal of approval, as English isn’t my native language, I might have different ideas in my mind from the way it actually reads.

Do you find yourself drawn to certain subjects or scenes repeatedly? If so, why?

Although I try not to make “clones” of my pieces, is true that I end up with very similar scenes, one of the reasons is because I want to produce a “signature” style not only on characters and rendering but also on composition, for example, one of my goals with my recent pieces is to resemble at some extent the vintage soda or food advertisement, this is, unnecessarily pretty and slightly flirty woman holding a soda bottle, it is a marketing formula that I want to twist into a simple aspect of the full composition for the only purpose of delight, I notice that it does produce satisfaction on the viewer and thus I repeat that aspect as necessary, but in fact it does give me satisfaction and joy to produce it too, and that makes art making much more meaningful, similar goes to the inclusion of musical depictions or dessert and sweets, these two are universally enjoyed, is relatable to any person regardless of age, background, nationality, etc. Which allows me to communicate my art to anyone.

If your paintings had a soundtrack, what kind of music would we hear while viewing them?

Classic Jazz and Blues, mostly instrumental, specially the most upbeat type, is what is in my mind while I’m painting them, half of the time is what I’m actually playing when painting, I guess it is due to the vintage cartoons and movies I used to watch, and although comes from a couple of generations before my time, still has that nostalgic feel I quite enjoy. Some times as I’m studying my finished pieces I end up
humming those tunes almost unconsciously.

What’s the weirdest or most unexpected inspiration you’ve ever drawn from for a painting?

I don’t think anything odd or weird has inspired me, yet, but I do get a lot of visual stimulation from dessert, pastries, candy, drinks, food, glass, shadows, reflected lights. electronic components. I’m more of a conventional folk I guess.

Interview with KCN ‘Dark Energy’ | September 12 – October 3, 2026

Thinkspace is pleased to present his debut solo exhibition with us by Taiwanese artist KCN ‘Dark Energy’ and includes a collection of eight detailed graphite new works on canvas that examine the emotional relationships between humans through various aspects of art, technology, culture, war, and science. The boundaries of time and individuality become indistinct as themes of alienation and “the other” emerge, with KCN’s exploration of the historical occupation of Taiwan by Japan serving as a recurring theme in his narrative portraiture.

Our interview with KCN shares his upbringing in Taiwan, explores his artistic journey, and reveals the meaning behind his alias.

• What motivated or inspired the collection you’re presenting in this exhibition?

The theme and inspiration for this exhibition are drawn from my interpretation of the universe’s “dark energy.” Like antigravity, it pushes apart all forms and structures, ultimately shaping the evolution of the large-scale structure of the universe.

• Are there any recurring themes or symbols in your paintings? If so, what do they represent to you?

In this body of work, I did not incorporate any recurring symbols. However, in many of my previous works, I often included elements and symbols associated with pre-war Taiwan. These symbols also represent my background and my sense of identity.

• Can you share a particularly memorable moment or experience that influenced your artistic journey?

What has shaped my artistic journey the most is the era in which I was born. I grew up during a contradictory period—a time that transitioned from scarcity to abundance. When I was young, pursuing a career as an artist was extremely difficult. Later, as the manga industry began to flourish in Taiwan, I entered the field as a traditional hand-drawn manga artist. However, within just a few years, the industry quickly collapsed.

At the same time, the digital era arrived. To make a living, I had no choice but to set aside traditional drawing and transition to digital art. I worked as an illustrator before eventually entering the video game industry.

Then, in recent years, the rise of AI brought yet another major disruption to digital art. Fortunately, seven years ago, I made the decision to leave the game industry, abandon digital painting, and return to traditional hand-drawing, because hand-drawn art has always been where my heart truly belongs.

I no longer wanted to compromise my artistic ideals simply to make a living. If I could start over again, I would choose to remain committed to traditional drawing from the very beginning.

Having lived through the transition from traditional art to the digital era, and now witnessing the impact of AI, I feel that my generation has constantly struggled to keep up with the speed of change. Yet despite everything, I have finally returned to where my passion for art first began.

• Are there any specific artists, movements, or periods in art history that have significantly influenced your work?

In truth, I have been influenced more by the spirit of different eras than by any individual artist.

Everything that emerged after the Industrial Revolution, as well as the rich vintage culture that existed up until the pre-war period, has always fascinated me. At the same time, I was deeply influenced by the popular culture of the 1970s through the 1990s.

I wouldn’t say that any single artist has had a defining influence on my work. However, if I had to name two artists whom I truly admire, they would be H. R. Giger and the Norwegian painter Odd Nerdrum.

• What’s on your art career bucket list?

From the circumstances of my birth to the environment in which I grew up, I have never had many choices in life.

Now, with the support of your gallery and the appreciation of collectors who enjoy my work, I already feel deeply grateful and fulfilled. My only wish is to continue creating—to devote myself to painting for the rest of my life, and to keep making art until the very end of my journey.

• If you could collaborate with any artists in any sort of medium (i.e. movies, music, painting) who would you collaborate with, and what would you be making?

Haha, I actually don’t often think about this kind of possibility. However, if I ever have the opportunity, I would not be opposed to collaborating with creators from any field—especially in film and music, because these are two areas that I personally love very much.

As for what kind of work I could create together with filmmakers or musicians, I believe my contribution would mainly be through visual expression. At most, I would hope to help create a unique world and its atmosphere.

• Who would be on the guest list if you could throw a dinner party for five people, dead or alive? What would be on the menu? What would be the icebreaker question?Haha, that’s a difficult question.

If I could host a dinner for five guests, I think I would invite President Abraham Lincoln, Vincent van Gogh, Franz Kafka, the members of The Beatles, and Keanu Reeves.

The menu would probably be the traditional home-cooked dishes prepared by my grandmother.

For my opening words, I would say, “Thank you all for accompanying me throughout my growth, and for giving me the courage to keep moving forward along my journey.”

• How do you approach the naming of your pieces, and what significance do titles hold for you?

I usually name my works by drawing comparisons between the things I love, my own reflections on the philosophy of life, and existing scientific terminology.

• Can you tell us a bit more about your artist alias/nickname?

My artist name, “KCN,” is the chemical formula for potassium cyanide. Potassium cyanide itself is an extremely toxic substance, and this name is closely connected to my personal journey. Since I was young, my way of thinking has often been very different from those around me. Living in such circumstances for a long time made me feel as though my very existence was, to others, a kind of poison.

• How has your cultural background influenced your artistic style? I know this is somewhat tied into the question above…

I was born in Taiwan during a time when the country was still under an authoritarian regime. It was not until my teenage years that Taiwan began its transition toward freedom and democracy.

Because of this historical background, Taiwan’s cultural environment was relatively limited during my early years. However, I was raised by my grandparents, who belonged to the pre-war generation, and I also grew up near areas filled with heavy industry—shipyards, shipbreaking yards, and steel factories.

Because of these experiences, I developed a deep emotional connection and passion for pre-war vintage culture, as well as industrial machinery and mechanical structures.

• If your paintings had a soundtrack, what kind of music would we hear while viewing them?

I love Western popular music from the 1970s through the 1990s. Even today, I still mainly listen to music from that era.

So when people view my artworks, I hope they can imagine that the soundtrack surrounding them is music from the 1970s to the 1990s.

• What’s the weirdest or most unexpected inspiration you’ve ever drawn from for a painting?

I’m not sure whether there has been a single strangest or most unexpected source of inspiration throughout my artistic journey.

However, some of the imagery in my works comes from dreams I had during my very early childhood, before the age of six. I seem to have dreamed of scenes from a post-apocalyptic world, and those images have remained deeply imprinted in my memory.

I believe these visions may be one of the origins behind the decaying mechanical atmosphere that appears throughout many of my works.

Interview with ALEX ACHAVAL ‘A Place To Live’ | September 12 – October 3, 2026

Thinkspace Projects is excited to present our debut solo exhibition together with Seattle based artist ALEX ACHAVAL ‘A Place To Live.’ Following our small showcase together in Portland, Oregon recently, ‘A Place To Live‘ brings together ten new works that showcase his distinctive voice in contemporary portraiture.

Achaval blends personal heritage, mixed-media techniques, and layered storytelling to create visually compelling and conceptually rich works. Best known for his signature split-image compositions, often featuring unique dual frames the artist crafts himself. Combining oil and acrylic with unexpected interruptions, concealing and transforming his subjects, resulting in portraits layered with depth and meaning, offering images that shift between themes of memory, beauty, and time.

Our interview with Alex explores his creative process, reveals his dream collaboration, and shares his weirdest or most unexpected inspiration.

• What motivated or inspired the collection you’re presenting in this exhibition?

This collection is primarily inspired by the natural world – it’s landscapes, seascapes, and changing scenery – while exploring both the subtle and profound ways in which human presence shapes the environment we live in. The body of work is intended to move as a sequence of dreams or memories, each suggesting the subject’s inner or past experiences.

• Could you walk us through your creative process from conception to completion of a piece?

Each piece begins as a digital mock-up in Photoshop, where I explore color palettes and experiment with the relationship and contrast between the two subjects. This allows me to refine the composition and assess how the two interact before starting the actual piece. I usually prime the canvas with a few different layers while sanding between depending on the surface. I then sketch out the entire piece before beginning the painting process. While the piece dries, I begin the hunt for the perfect vintage frame. Sometimes I get lucky and find one at goodwill but most of the time I end up at antique malls and shops pretending I’m not about to cut this beautifully crafted heirloom in half. The final step involves taking on the role of a carpenter by constructing a simple, modern-style frame from scratch for the lower half of the painting, then carefully fitting the two components together to create the finished piece.

• Are there any recurring themes or symbols in your paintings? If so, what do they represent to you?

I always cover the eyes. I’ve done that for a really long time – even before I started the half frame style that has kind of defined my work. I think originally it was sort of built on the idea that it makes the subject mysterious and almost as if their identity was slipping away. Now, I see the top half of my paintings as representing what the subject is seeing or remembering from their own first-person perspective.

• Can you share a particularly memorable moment or experience that influenced your artistic journey?

There’s been a few moments that led me in different directions; one in particular I remember early on that jump started it. When I was in high school, I thought I was living in the 60’s and 70’s, and I was really into that whole music scene (still am). I started doing portrait sketches of artists like Jim Morrison, Led Zeppelin, Johnny Cash, Bob Dylan etc. and from that moment on I just always found myself wanting to paint portraits and be a portrait artist. Nowadays I’m just half a portrait artist. Another defining moment later was in 2015 when I was about 28. I landed in a space in the historic Pike Place Market in Seattle where I had an open studio/gallery. It completely transformed my life and allowed me to step out of my comfort zone, sell and talk about my work while painting, and always have a place to display my pieces. I moved around the market for 6 years and ended up having three different spaces before making the hard decision to give it up after deciding to move to Los Angeles in 2022.

• Are there any specific artists, movements, or periods in art history that have significantly influenced your work?

Early on, I was really obsessed with surrealism, specifically Dali, Frida, and Magritte. I started doing surreal types of pieces mixed with collage for a brief period which led to impressionist and abstract mixed with portrait painting. One of the things that catches my eye the most about other artists’ work, even if it’s nothing close to my own, is the use of someone’s color palette.

It’s hard to pinpoint all of the specific contemporary artists that had significant influences on my work because there’s just too many; but I do remember being really inspired by Jenn Mann’s use of color early on. Also, Erik Jones inspired me a lot with his way of blending expressive brushwork and shapes with intricate detail.

• If you could collaborate with any artists in any sort of medium (i.e. movies, music, painting) who would you collaborate with, and what would you be making?

I’ve always wished I was musically talented, but I think that music really is one of those things that you’re either born with or you’re not. So, if I could, I would love to collaborate on an album cover with one of my favorite bands, Nation of Language (if you’re reading this – hit me up!).

• How do you approach the naming of your pieces, and what significance do titles hold for you?

This is something I either think way too hard about, or I just look at the piece, and it instantly comes to me. Lately I’ve been looking deeper into the quiet parts of the piece, uncovering layers of other meanings it has to reveal. I think having a strong name attached to the piece can make it more impactful and intriguing. For example, one of my pieces for this show is titled ‘End Of The Daydream,’ it depicts a woman deep in thought with a house at dusk above her with two lights on. The lights are on, but no one is home. She’s physically there but lost within herself.

• Do you find yourself drawn to certain subjects or scenes repeatedly? If so, why?

I’ve always been drawn to portraits that are closer in frame. I like painting the small details of the face. Lately, I feel like I’m drawn to more rural landscapes, probably because I’m turning into a grumpy old man that’s about ready to live in a house in the middle of nowhere far from all this madness.

• If your paintings had a soundtrack, what kind of music would we hear while viewing them?

I think each piece or show would have its own song or soundtrack, but if I had to choose a soundtrack for my Thinkspace solo ‘A Place To Live‘ it would probably be traditional pop, old school jazz and swing like Dean Martin, Frank Sinatra, Billy Holiday etc. Listening to it is like sitting in a softly lit room while the rest of the world fades away.

• What’s the weirdest or most unexpected inspiration you’ve ever drawn from for a painting?

I used to use found objects and physically incorporate them into my pieces, always searching for inspiration in everyday things. I once took apart an old laptop and threw the keyboard part on top of the surface before painting a portrait on top of it. At least half of my old Sony Vaio laptop lives on above someone’s couch – strange times lol.

Interview with Raymond Argumedo ‘You’ll Find Your Self’ | September 12 – October 3, 2026

Thinkspace Projects is honored to be hosting the sophomore solo exhibition from RAYMOND ARGUMEDO ‘You’ll Find Yourself.’ Known for his unique style that incorporates the best elements of the art nouveau movement mashed up with modern day graphic design sensibilities and Mesoarmerican Mythology, resulting in work that has garnered admiration for its clean execution and minimalist aesthetic, which belies the profound depths of emotion and meaning contained within.

“’You’ll Find Yourself’ is something I say to myself when I’ve gone through life’s hardships or experienced a sense of loss. Saying those words helps remind me of how beautiful life is and encourages me to remain grateful, even during difficult times.”

Our interview with Raymond shares what’s on his bucket list, explores his dream collaboration, and reveals his guilty pleasures.

• Could you walk us through your creative process from conception to completion of a piece?

My creative process usually begins with drawing. I’m always sketching new figures or developing ideas that I can build on later. For this upcoming solo show, I’m actually revisiting illustrations I created five or six years ago that I never fully finished. It’s been exciting to give those ideas a new life and see them evolve with where I am today as an artist.

Once I have a drawing I connect with, I transfer it into a digital format where I can experiment with color palettes, compositions, and patterns before committing to the final painting. That stage gives me the freedom to explore different possibilities while keeping the original idea intact.

When it’s finally time to paint, I leave room for intuition. Even with a clear plan, I like to improvise and respond to the painting as it develops. Those spontaneous decisions give each piece a human touch and make every painting feel unique rather than like a direct copy of the original concept.

• How do you feel your style or technique has evolved over time, and what factors have contributed to this evolution?

I feel my work has evolved by becoming more intentional and mature over time. Early on, I was focused on finishing paintings as quickly as possible, but I’ve learned that creating meaningful work can’t be rushed. I’ve come to appreciate the process and allow each piece the time it needs to develop naturally. I also pour a lot of emotion into every painting, making sure each one is an honest reflection of who I am. That shift in mindset has not only improved my technique but has also made my work feel more authentic and personal.

• What do you hope viewers take away from experiencing your art?

I hope people walk away from my work feeling seen. My paintings are rooted in emotion and personal experiences, but I also want them to create space for viewers to reflect on their own lives. If someone looks at one of my pieces and remembers a feeling, a memory, or a part of themselves they haven’t thought about in a long time, then I’ve accomplished what I set out to do.

Nostalgia plays a big role in my work. It’s a feeling that brings me a lot of joy while I’m creating, and I hope that same sense of reflection and connection is something others experience when they spend time with the paintings.

• What do you enjoy doing on your weekends/free time? Tell us about your guilty pleasure(s).

Man, I love skateboarding still. I force my self to learn new tricks and hit the skatepark. I usually hand out stickers or merch if I have some with me to the youth skating around to hopefully keep them inspired. I enjoy going to concerts and showing my kids new bands I hope they possibly like.

• What’s on your bucket list?

Traveling outside of the country and visit ancient ruins from different cultures has always been on my bucket list. Having a solo show at Thinkspace has been on my bucket list as well. Grateful to be back.

• If you could collaborate with any artists in any sort of medium (i.e. movies, music, painting) who would you collaborate with, and what would you be making?

I would love to collaborate with James Jean and make some sorta sick ass print. The creative process all his prints are made is insane.

• How do you approach the naming of your pieces, and what significance do titles hold for you?

After completing a painting usually step back, crack a beer open and listen to some instrumental music. The paintings will name Itself if you stare at them long enough. I try my best to title each piece appropriately with the vibe it gives off.

• If your paintings could talk, what do you think they would say about you as an artist?

They would be stoked that I created them and gave them life! I put so much effort in my paintings. They would say I’m a humbled artist with dreams big enough to fill the sky.

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