Thinkspace is excited to present his fifth solo show at the gallery Sean Mahan ‘Relative Permeability,’ which features sixteen new acrylic paintings that play with the idea of perception through the obscurity of reality. Mahan utilizes a realist technique to portray his sitters and their accompanying technologies, yet his surrealistic stylization and play on color manipulate one’s perception, ultimately allowing our imaginations to usurp our logic. Muted backgrounds and spotlight effects draw the viewer in, immersing them into the inner ruminations of his females as they engage with their analog devices. Mahan’s inclusion of these tools of creative expression serve as a conduit of interpretation, ultimately resulting in visual and audible constitutions open to a myriad of comprehensions.
Our interview with Sean explores how his father vitalized and influenced his artistic journey, discloses the process he uses for his paintings, and shares advice he would give to his younger self or aspiring painters who are just starting their artistic journey.
- Can you share a particularly memorable moment or experience that influenced your artistic journey?
When I was really young, I would sometimes watch my father at work. He was an architect and kept a studio in our house where he sometimes put in extra hours outside of the office. I had to stay calm and quiet so as not to disturb his work, which was hand rendering drawings of the buildings he was designing. This was before CAD and it took a careful and precise hand to realize the renderings. I watched how slowly and carefully he would place each line and how he used a slide rule, isometric triangles, and other drafting tools. I saw how through focused attention something complex and detailed could emerge. Not only that, I started to connect a feeling with the process. I saw how a balanced beauty could be reflected in a drawing if the right approach to the process was employed. It had a definite impact on me and the way I approach art. Early on, I saw an example of how art could be more than just an object you make; art could be an integrative process or even an integrative way of being in the world.
- Are there any specific artists, movements, or periods in art history that have significantly influenced your work?
My father was also deeply interested in art history. We had a nice collection of books on a wide variety of artists. I loved Käthe Kollwitz and as a young artist I tried to make linoleum prints like she did. I think the tone of her subjects are still influential on the paintings I make today. Her prints captured an emotional quality that was multifaceted and moved me as a young artist.
- Do you have any rituals or habits that help you get into the creative mindset before painting?
I protect my creative time and space. I keep my studio organized and clean because it helps to shape my mindset. I aspire to have a calm and focused mind so that it will reflect in what I make. I also love the process of painting and I would like to have the presence of mind to really appreciate how the process feels.
- What motivated or inspired the new collection you’re presenting in this exhibition?
In this series of paintings I was interested in the emotional content that is revealed in simple facial expression. I wanted to explore if something universal could show through. The paintings are portraits, but not of any specific individual. They are portraits of a shared feeling- a shared despair, a shared concern, and a shared hope. I still feel that there is a possibility sitting within us – a sweetness and warmth, that however distressed and weighed down, has a strength to reach through.
- How do you approach the naming of your pieces, and what significance do titles hold for you?
I like a name that points in a direction and is somewhat open. Ideally a name could give additional meaning without confining an openness for the viewer to bring their own perspective.
- What advice would you give to your younger self or aspiring painters who are just starting their artistic journey?
The influential musician and deep listening artist Pauline Oliveros said “Don’t try to build a career, try to build a community.” I think this is really good advice for any artist. If you can find a group of people or scene that you really connect with, that is a great place to share your art. It will gain a strength through the connection and association with others aspiring towards something together. For example, I started out making paintings for post-hardcore records because I loved the music and the scene surrounding it when I was young. Those bands toured and as a result my art toured with them. Each record was like a soundtrack to my painting. I made so many strong connections and learned how to communicate directly with a supportive group of likeminded people. I found the meaning in my art to be situated in a context, in a shared narrative and that protected it from the pressures of aiming at an external validation based on quantity of sales.
- Are there any particular techniques or mediums you enjoy experimenting with in your work?
I love acrylic paint because you can always paint over what you don’t want to keep. Things can always be refined. The process I use is similar to printmaking. I make a detailed reference in photoshop then print it in reverse (mirrored). I trace the mirrored image on tracing paper. When I flip the tracing paper over, I can rub the other side and transfer just the lines. I trace out a basic shape and paint it a solid base color. Then I can over lay the tracing paper a second time and transfer detail lines onto the base color. I continue like this until all of the layers are complete. It’s an old fashioned rendering technique that my father taught me years ago. I really like this process.
- What’s the weirdest or most unexpected inspiration you’ve ever drawn from for a painting?
I find a lot of inspiration in the ideas of architectural functionalism. The idea that it’s not the architectural object that is beautiful, it is how the subject interacts with the object where the beauty happens. The idea is about fitting our natural human needs with a structure that accommodates and supports them. The art is found in the living interaction we feel when the fit is good. It’s a consideration of how we might feel our best. I like to try and bring that kind of consideration into my paintings- to try and present an opportunity to feel completely.
