New Edition from Bezt ‘The Other Side of the Carpet’

We’re excited to share one of BEZT’s most popular pieces from his sold-out showing in New York City with us will soon be available as a special limited edition fine art print. 

BEZT
The Other Side of the Carpet
Edition of 40
Fine art print on Imprime Premium Natural Rag 295gsm paper
36×24 inches / 90×60 cm
Hand-signed and numbered by the artist
$200 each plus shipping

    
Available tomorrow, Wednesday, March 18 at 9AM Pacific Standard Time / 12 Noon Eastern Standard Time via our web shop.   

We ship worldwide and our shop will share shipping rates upon check out.

Thank you.

New print edition from Dulk, ‘Welcome Home’

We’re excited to share one of DULK’s most popular pieces from his recent sold-out showing down in Miami with us this past December as part of SCOPE will soon be available as a special limited edition fine art print. 

The crew at Static Medium handled the printing of this beauty as well as hand-deckling the edges of each, and the resulting print editon is a thing of beauty. DULK was over the moon with the quality of the final product and we are confident you will be too. 

DULK
‘Welcome Back’
Edition of 80
Fine art print with hand-deckled edges on 305gsm paper
20×28 inches / 50.8×71.2 cm
Hand-signed and numbered by the artist
$240

Available Wednesday, March 11th at 9 AM Pacific Standard Time / 12 Noon Eastern Standard Time via our web shop.

No pre-orders are available.

We ship worldwide and our shop will share shipping rates upon check out. Thank you.

Opening Reception of James Bullough’s “Parallel Truths” and GIORGIKO’s “Horizon Light”

Thank you to everyone that came out this past Saturday to celebrate our new openings from James Bullough and Giorgiko. What a night! So many came out to support these incredible new bodies of work from both artists. A big congrats to both! Please be sure to stop by and view both exhibitions the next time you’re in the Culver City Arts District area of Los Angeles.  

JAMES BULLOUGH

Parallel Truths Click HERE to view Bullough’s new body of work

 Click HERE to check out our interview with Bullough 

GIORGIKO

Horizon Light Click HERE to view the duo’s new body of work

 Click HERE to check out our new interview with Giorgiko   

Both exhibitions on view February 29 – March 21, 2020

Interview with James Bullough for ‘Parallel Truths’

Thinkspace is pleased to present Parallel Truth featuring new work by James Bullough.

Bullough is a technically accomplished painter who creates with a staggering degree of detail. He begins with figurative imagery, disjointing and levitating its fragmented parts impressionistically to build dynamic surfaces that read with startling affective resonance.

In anticipation of Parallel Truth, our interview with James Bullough discusses what piece challenged him, his advice to fledgling artists, and what skill he would download into his brain.

SH: For those that are not familiar with you and your work, can you give us a brief look at your artistic background and how you came to meet our curator and co-owner Andrew Hosner?

JB: I started my art journey a bit late in life.  I graduated from college with an Art Education degree and eventually went on to be a middle school art teacher just outside of Baltimore.  Studying to be an art teacher is much more about being a teacher than being an artist.  I took a few art classes but nothing too serious, it was mostly about teaching.  After 4 or 5 years of teaching kids how to be artists, I figured I might give it a go in my basement in the evenings after work.  A few years later, after a lot of experimenting and a little guidance from a local oil painter, I figured I knew enough to quit my job and go full time.  Obviously I didn’t, but I sold my house, my car, and pretty much everything I owned and moved to Berlin with the unrealistic goal that I’d be showing in galleries within a year.

It took me about 3 or 4 years in Berlin to find my own voice artistically and develop my skills.  Right around that same time I met Andrew Hosner at an event for the Urban Nation Museum.  I invited Andrew and Shawn to come on my newly formed podcast, VantagePoint Radio, and from there we hit it off.  He took a liking to my work and invited me to show some small paintings in a couple of group shows and before long he asked me to join the roster for the first Vitality and Verve exhibition at the Long Beach Museum of Art. That show ended up being a huge deal and the piece I created for it really stood out and made people take notice.  I’ve been working closely with Andrew and Thinkspace ever since.

SH: What is the inspiration and themes you explored for this body of work?

JB: As is the case with most of my work, my inspirations and explorations are mostly technique-driven.  I like to push myself with every painting to make something more interesting or complex or just different than the last painting.  It can be simply pushing the design and composition further, or working with more complex photos or more interesting models or just doing a better job with the actual painting of the image. 

For this show ‘Parallel Truths’ I am actually presenting three different bodies of work which I’ve been developing over the past year and a half.  The first is my traditional fractured portraits but pushed a bit further in terms of composition and delicacy of the painting and level of detail. The second is my peeling portraits which give the feeling of the painting peeling off of the wall or the wall peeling away and revealing the portrait underneath.  The third is what I’m calling ‘hidden words’ which is a spin-off from the peeling portraits but instead of revealing a portrait underneath the peeling wallpaper reveals a hidden word which you really have to work to find.  So for me, this body of work is all about trying new techniques and pushing what I’ve been doing for the past few years into new directions.

SH: Is there a particular piece in this exhibition you feel really challenged you?

JB: If so, why and what makes you proud of this piece. One of the larger paintings in this show is called ‘Morning Light’ and features a new model I’m working with named Polly Ellens from London who is one of the most interesting looking people I’ve ever seen.  I actually passed her in the Philadelphia airport and couldn’t resist walking up to her and asking if I could paint her.  I’d never done that before and haven’t done it since but Polly just had a look I couldn’t let go.  Unfortunately, the look that she has is quite tricky to paint.  She has ice blue eyes and an explosion of freckles on her face which highlight the brightness of her fiery red hair.  The combination is absolutely stunning.  She is also covered in tattoos which I left out of the paintings because, in the end, they were distracting from everything else. Painting a face with so many freckles is really challenging.  First I had to try to see her without all the freckles and tattoos so I could paint her skin as it is underneath.  Then add the freckles on at the end without making them look painted on.  It was really tricky and technically over my head but if I didn’t get it right I would have had to start the whole face all over again.  In the end, it worked out really well and is probably my best bit of oil painting I’ve ever done and that feels really good.  It’s going to be a hard painting to let go of when it sells.  

SH: What is your favorite and least favorite part of the creative process?

JB: When I come up with a new idea for a painting or a new technique I want to try I am always faced with the reality that I can plan and design all I want to ahead of time but I’ll never really know if what I want to try will work until the painting is finished.  My paintings take weeks or even months to design and paint so that uncertainty can be really crippling.  I have had to grow a thick skin and trust my instincts but also trust that if what I’m going for starts to seem like it’s not working, I’ll be able to wrestle it into something that does work.  My least favorite part of the creative process is that floating feeling when I’m not sure if things are working and how things will be received.  But the flip side of that is when I get toward the end of a painting and start to realize that the idea I had half a year ago is really going to work and this piece is going to knock people socks off when they see it.  That’s my favorite part.

SH: If you could make an album cover for any musical artist, who would it be?

JB: My favorite genres of music are hip hop and drum and bass (a kind of slightly aggressive sub-genre of electronic music).  I don’t really think my work lends well to those types of music, although there are a few exceptions that come to mind.  My work would probably better suit some kind of indie rock band like Death Cab or LCD Soundsystem or something.  Maybe if Postal Service got back together and put out a new album my painting ‘Colide’ from this upcoming show would be a cool album cover.

SH: A Netflix movie is being made about your life, who would be cast to play you (the actor does not need to look like you, more be able to capture your essence) and what kind of movie would it be? Try to describe it with similar movies.

JB: Wow!  I could take this question in a million different ways.  Jonny Drama from the show Entourage, unfortunately, might have to play me because people have said we look similar before.  I’m not happy about it but it might just have to be a fact.  

As for the story, it might have to be some kind of Forest Gump or Benjamin Button kind of movie because I’ve always felt like I lived my life out of order and every 5 or 6 years I’ve completely shifted gears and done something totally different than before.  In college, I was pretty heavy in the rave scene and was a club Dj but had never really left the northeast coast of the US.  Then after graduation, I spent a year traveling the world and doing any insane thing I could think of like an out of control teenager.  When I returned to the States I got a job teaching at a suburban middle school for nearly a decade, basically living the life of a 45-year-old during my entire 20s. When I couldn’t take that anymore I moved to Berlin in my 30s and fell in with some graffiti/street art guys and next thing you know I’m hanging off an 8 story roof at 3 in the morning with a roller in handwriting a name I made up for myself like some drunk 20 year old.  

Last year I turned 40 and had my second baby in two years… so finally I feel like I’m living the appropriate life for my age for the first since I was in primary school.  Unfortunately, I look and feel like I’m in my 50s so who knows, maybe I’ve still got it all wrong.

SH: If you could download any skill into your brain, Matrix-style, what would you want to instantly learn?

JB: I’d like to be fluent in German.  I’ve been living in Berlin for almost 10 years and speak just enough to get by.  I studied full time at a school in Germany for over a year and on and off for years after that but my brain just isn’t built for learning languages.  It may sound like a cop-out and maybe it is but I was never good at school and languages are just a mystery to me. It’s definitely one of my biggest regrets knowing that I can’t truly be myself and relate to people in the country I live in the same way I do with English speakers. 

SH: Some of the advice you give to other artists is to commit to consistency, and the honest self-realization of when one starts to think they are getting pretty-good it’s still not that great – so keep going. How long did it take you to develop your style, and then how many additional years to really hone your skills?

JB: I feel like I was one of the lucky ones who sort of figured things out rather quickly and even then it took me about 10 years to really find a voice and a skill set that people responded to and got excited to see.  I had been working on my craft (painting) that whole time while I experimented with lots of different things so, by the time I developed the fractured portrait style that people know me for, I was ready to really go for it.  

It’s natural for young artists to want to do many different things, and in many ways, it’s completely necessary to figure out what you want to focus on and what you’re good at.  But at some point, in my humble opinion, you need to be aware enough to notice when that “thing” comes around and then grab it and go hard with it until you are undeniably good at it and nobody else is doing it quite the way or quite as good as you are.  You can always expand and experiment later, and you definitely should, but if your goal is to get noticed you’ve got to be focused 

SH: At the beginning of your career, how many hours a day did you spend painting? And now how many hours a day are you painting?   

JB: When I first started painting in my mid 20’s I was working full time as a middle school teacher so the only time I could paint was for a few hours in the evenings. I was quite dedicated to it and painted as much as I could but it was definitely just a hobby then.  When I moved to Berlin in 2010 is when I started to take is seriously and considered painting as my job.  From then I was painting all day every day and as I started getting a bit of interest in my work and was invited to shows I was painting between 9-12 hours a day 6 days a week.  Eventually, my wife had enough of my crazy hours and now we’ve got two little girls so I keep pretty normal work hours these days but I had to hire an assistant to keep the workflow from falling off.  

SH: Would you rather be able to talk to animals or read people’s minds?

JB: Definitely read people’s minds.  Although that seems like one of those powers that seems better than it actually is.  I bed you’d want to lose that ability pretty quickly after realizing you have it.

SH: If you could paint a mural anywhere in the world, where would that be and why?

JB: My favorite part about painting murals is the family vibe between all the artists in the scene and painting alongside of all my friends.  Painting a commission wall is great and pays the bills but painting at a mural festival is so much more fun.  Any time you get 20 or so people at the top of their field together and give them a week to do what they do best and share thoughts and experiences and good times you’re going to have a super fun and creative experience.  So for me, the answer to the question is not really about where would be the best place to paint a mural but rather with whom?  If I could invite all of my mural buddies and a bunch of others who I respect but haven’t met yet and given us a week or two in a small town that would be the most ideal situation for me.  Bonus points if there’s sun every day and a beach and no wind.

Join us for the opening reception of Parallel Truths Saturday, February 29th, from 6:00 pm – 9:00 pm.

Interview with Giorgiko for “Horizon Light”

Thinkspace is pleased to present Horizon Light featuring new work by duo Giorgiko.

Giorgiko’s latest body of work explores the transition and tension between seasons of life so often filled with uncertainty.  What lies in the darkness when the sun fades behind the horizon? Will the darkness flee from the morning light? What will comfort us in times of desperation? Come enter a world where wonder dwells in the mystery between light and shadow.

In anticipation of Horizon Light, our interview with Giorgiko explores their collaborative relationship, creative process, and a romantic comedy starring Jack Black.

SH: For those that are not familiar with your work, can you give us a brief look at your individual artistic backgrounds and how you came to work together?

Darren: Both Trisha and I graduated from ArtCenter College of Design, which is also where we met and started dating. During school, Trisha took a children’s book illustration class, where she wrote a story about a wayfaring little girl. I loved the story, and we talked about possibly working together in the future. Post-grad, we worked separately as illustrators doing small commissions, shows, and freelance jobs. In 2014, we finally decided to collaborate on a few post-it note paintings for GR2’s “Post-it Show” and had so much fun with it. We continued to create and develop our joint style and in late 2018 we officially became “Giorgiko”. 

SH: What’s the story behind the name you chose for your collaborative output?

G: Giorgiko started as a mashup of our middle names George and Songyi. We thought the name Georgie fit our collaborative style well, and sounded a little cuter than our other options: Darisha or Trisharren, haha. As we explored the name further, we found that “Giorgi” comes from the Greek word meaning “farmer” or “earth-worker”, and “-ko” is the Japanese suffix that means “child”. We feel that the resulting meaning of “earth-working child” represents our work very well, as we depict very human emotions and experiences through a childlike lens.

SH: What is the inspiration and themes you explored for this body of work?

G: The main theme we are exploring in this body of work is life transition, as well as the feelings of fear and hope associated with it, metaphorically depicted through the transition between light and dark. It explores the calm before the storm and the storm before the calm. We were inspired by our experiences in life of waiting hopefully for dawn to break in seasons of darkness, and the feelings of bracing for what is to come as the sun dips below the horizon.

SH: Is there a particular piece in this exhibition you feel really challenged the two of you? If so, why and what makes you proud of this piece.

G: In this body of work, we stretched ourselves with more involved and complex imagery, with some of the images featuring multiple characters and other images having diverse and imaginative backgrounds. Probably the most challenging piece for us was “Stampede,” which we redrew and repainted repeatedly as we tried to figure out the character’s pose and the feeling of the piece. In doing so, the image has changed substantially, and in the end we love how it turned out and feel it is a piece that really engages the viewer.

SH: What is your individual favorite and least favorite part of the creative process?

Darren: “My favorite part of the process would have to be ideation. When Trisha and I start talking about an image or series we want to create, it is exhilarating and we often find ourselves building on top of each other’s ideas, making them better and better. My least favorite part of the process is drawing.”

Trisha: “My favorite part of the creative process is when we get on the same page and get all pumped up about the piece or concept. My least favorite part is when we have clashing visions and get annoyed at each other.”

SH: Tell us what you feel is your partner’s artistic strength and how he/she helps you be a better artist (a reply from each would be great here)

Darren: “Trisha has an uncanny ability to create cuteness. It’s in her nature to know how to make everyday moments sweet and convey them in imagery. She can draw with effortlessness and capture these moments in a few simple strokes of her pen. I love this, and it inspires me to pay attention to subtleties in life and work.”

Trisha: “Darren is a total big-picture person, whereas I tend to get stuck in the small details. He is always dreaming, thinking ahead, and problem-solving. He is often the catalyst that sets our exhibitions and storylines into motion.

SH: Who is an artist; musician, director, any art form – who would be a dream collaboration for the two of you and what would you create?

G: The first thing that comes to mind is “Hedgehog in the Fog,” an animated short directed by Yuri Norstein. We’re not familiar with his other works, but we love this super mysterious, dreamy, and weird short of his. We’d love seeing our characters in stop-motion, encountering their fears as well as great beauty in the fog with the little hedgehog.

SH: A Netflix movie is being made about your life / partnership, who would be cast to play each of you (the actor does not need to look like you, more be able to capture your essence) and what kind of movie would it be? 

G: Our Netflix movie would be a romantic comedy war movie, starring Ken Watanabe as Darren and Jack Black as Trisha.

SH: If you could download any skill into your brain, Matrix-style, what would you want to instantly learn?

Darren: “Piano. When I see a professional pianist playing, it feels like they are pushing the notes out of their body in the most satisfying way.”

Trisha: “How to sing like Celine Dion.”

SH: Would you rather be able to talk to animals or read people’s minds?

Darren: “Talk to animals. I feel if I could read people’s minds, every conversation would be too tempting to manipulate.”

Trisha: “Talk to animals. I’m pretty sure I don’t want to know what goes on in people’s minds. Plus, I would like to be able to convince animals to not eat me if the situation were ever to arise.”

SH: Fun Hypothetical: A world-renowned chef wants to make a dish inspired by your artwork and favorite food. What would be the dishes ingredients and what is it similar too?

Trisha: “That’s a hard question because I like things like cheeseburgers and pizza. Maybe something kind of earthy and bitter, with a hint of sweetness that isn’t overpowering, like a cherry on top. Something reminiscent of 87% dark chocolate cake that mostly tastes like dirt, a la mode. Darren likes Japanese food.”

Join us for the opening reception of Horizon Light Saturday, February 29th, from 6:00 pm – 9:00 pm.