Juxtapoz – Sour Harvest

Interview with DULK for ‘Heritage’ | Exhibition June 3 – June 24, 2023

Thinkspace is excited to present DULK ‘Heritage‘ where he brings his worlds of stylized animalia and character creatures. Striking an unlikely balance between the playful ease of children’s make-believe and the prescient threat of ecological doomsday, Dulk’s works celebrate the beauty of nature’s biodiversity while simultaneously mourning the imminence of its loss. Much in the same way that fantasy actively invites collusion with nightmare, Dulk’s extravagantly lush imagination, for all of its seductive warmth, is punctuated by premonitory distress, and poignantly aberrant, if not predictive, details.

Our interview with Dulk (aka Antonio Segura) reveals places he’s explored to find his inspirations for his latest collection, about his safari trips, how he makes a great paella and so much more!

What was your inspiration and process for developing the works within this exhibition? Did all the ideas evolve over the last year, or did you peak into past archives and explore previous sparks of inspiration?

In 2017 I traveled to Denver for a mural project and after that me and my wife decided to spend some days to discover the natural spaces close to the city. A friend of us brought us to the Rocky Mountains and I felt so impressed about the amount of wildlife and incredible landscapes that we discovered there. It was truly amazing. Since then, every time that we came back to the US we took some days to scape from the city and visit the natural spaces that we could find around. It’s incredible the diversity of ecosystems that you can find in North America. It’s probably one the most diverse continents on earth. And it’s the only place where you can find every landscape from polar ice cap to baking desert, and everything in between. To prepare this exhibition I spent the last 5 years visiting and photographing most of the places you can find in the artworks. I visited the natural paradise of Alaska, the mangroves of the Everglades in Florida, the magical sequoias forests in California, the astonishing and unique Yellowstone or the breathtaking volcanoes in Hawai’i among many others. In each place I felt something very special and it’s why I decided to produce a body of works to collect all these journeys and experiences as memories.

We know every piece brings forth its own challenges and tests. Did you ever have to start over and completely pivot with a piece in this exhibition? Do you embrace or resist those types of choices?

Not in this show, but I did it many times. For me being satisfied with the result is essential and if something is failed between it I would never hesitate in restart the concept or whatever. I know myself and I know that every time that I look the artwork I would think, why I didn’t changed it? For this exhibition I spent a lot of time in conceptualizing each artwork, this is my favorite part of the process in a project like this one. It has been the longest process I did ever for an exhibition and I’m quite happy with the result. Each time I’m investing more time in the sketching and concept development so when I take the brushes the main idea is already solid. Some small details can change during the progress but not so much.

Who are some our your favorite nature photographers? Have you learned techniques from them that have influenced your own nature photography?

I’m amateur in wildlife photography but it’s a long time since I’m following the work of incredible photographers as Joel Sartore, Shaaz Jung or Paul Nicklen to inspire my work. It was during my first Safari in Kenya when I discover that this discipline could be the perfect starting point of my creative process. Not only to get a good image with my camera, also living the sensation of being in the place surrounded by the inhabitants of it. Nature has a special power and feeling it in first person is just incredible. For me the most special point about this is living the moment and remind it forever. I really enjoy being in the place in the perfect moment, but at the same time is very difficult to complete with a nice picture. To get one OK I normally shoot dozens of them, but when you get the perfect light with the perfect composition that’s magical.

What helps to ground you in the inherently chaotic and unpredictable profession of a full-time artist?

Creative process is something that I always needed. At the same time I always thought that I could never live from my art so that’s the reason that I pushed myself so hard working day at night to get something with this. At 18 I started my university career in economics and I left it two years later to start with the fine arts. I consider myself very young and I try to not thinking in the future so much and work hard day by day. Art scene is very unpredictable and I prefer to work hard and motivate my mind traveling and discovering the nature worldwide to keep harvesting my labor. If I look back I see a strong evolution in my work and that’s what motivate me to keep working hard. Nowadays for me being an artist is my life, it’s not just a work, it’s a way of life.

You’ve shared before that you do not mean to be an activist with your work but merely provide a catalyst for reflection. However, the state of our planet’s ecosystem is definitely a concern and value of yours. Are there activists or organizations you admire and believe more people should be aware of the work they are doing?

Cold reasoning does not change people. Emotion is necessary, as Jacques Cousteau said, “Man only cares for what he loves, and only loves what he knows.”
That is why I am convinced that my images can help. Shocking, exciting, moving. And with this helping many people, especially the youngest, to fall in love with nature and therefore decide to protect it throughout their lives. I have worked and shown my work in many corners of the planet. In presentations, workshops, murals in many countries. I have seen and heard comments of love, emotion, even tears. It is then when I consider that I have contributed something to the message of change. With art we extol an element, we can do it with the nature.
I consider myself as an artivist. We can educate people and organizations through artistic expression, to convey the importance and urgency of conserving and promoting the wealth of natural heritage.
I collaborated with some organizations like Olpejeta Conservancy in Kenya, Pangeaseed foundation or WWF Spain and I’m totally open to do it more often as an important goal as an objective.

How has fatherhood influenced your art and practice? What element of fatherhood is most rewarding at the moment and most challenging?

Being a father made me view life with another eyes. It has awakened something in me that I did not know and I could never expect in any way. Since then every day has a moment of joy saved for you and that’s magical.
Luckily me and my wife, Sara, are a strong team, personal and professional. She is my manager, so we travel together most of the time. It makes everything easier in terms of organization. We travel a lot and since we are parents it is a bit different because we no longer go alone, sometimes it is complicated but all the times it is a joy to be all together. A young kid demands a lot and it is difficult to balance it with an artist’s life but I think we do our best with him. Sara is the best and she manages the home and the studio as no one could do it. She deserves the best from us. I try to do the best I can do and it’s not easy but seeing how a two and a half years old kid has visited places all over the world makes me look at him and feel proud to be able to offer that to my son. I think traveling is very important to open minds and learn about different cultures and places. Looking at him amazed observing the whales of Alaska, the dolphins in French Polynesia or the sequoias in California makes me shed a tear.

You have ventured into collaborations with clothing brands and jewelry, along with regularly producing amazing sculptures and traveling for mural opportunities. Do you have support for these business ventures, or do you manage both these efforts along with your painting independently? And advice for other artists looking to expand their revenue streams?

We are a team of 5 people in the studio right now. It truly helps to get new goals and expand my work to new places that I could never get working alone. It let me focus myself in the creative process and in the painting development. Collaborations with brands that have on mind the same goals as ours and spread your message make me comfortable of working together. I enjoying viewing my work growing to new directions without losing the essence of itself.

If you could bring any extinct animal back, which one would it be and why?

I don’t have any preference on that. I would prefer choose the option of not losing more. It’s going so fast and it’s real. Day by day we are losing species worldwide and people doesn’t pay the necessary attention. Art is an invaluable tool for create awareness in people about the risks and dangers of climate change, as well as inspiring a commitment to address it. The works can help people to understand the importance of acting to prevent climate change and promote sustainability.

What is one of your most memorable meals? It could be because of the food you ate or the company you dined with, but a meal that has stood the test of time.

If I have to choose one I choose the Paella, we love cooking at home but my work each weekend is cooking it for the family or friends. The Valencian paella is the most famous Spanish dish worldwide and I learnt it from my grandma. I’m cooking it for my friends since I was 15 years old and I never stoped. For Valencians cooking the paella it’s like a religion and I’m not a believer but I think I do it quite well haha.

How do you like to enjoy your time outside of the studio? Do you celebrate the completion of a body of work?

Normally if I’m in town a normal day would be being in the studio around 7 hours, I’m an early bird and I’m much more productive the first hours of the day. The rest of the day is being with my family and do some trail in the mountains. We got a nice house close to there and doing sport makes me release my mind after a hard working day. I enjoy being involved around nature, running or wildlife photography would be my favorite activities out of the studio and of course traveling with my family.

When I finish a body of work is something unique. The feeling of finally see in front of you the idea and concept that you had in mind 8 months ago done is amazing. This time we celebrated with the studio team at home having a lunch party and relaxing a bit after a several months of hard work.

Exhibition on view June 3 – June 24, 2023 at:
Thinkspace Projects
4217 W. Jefferson Blvd.
Los Angeles, California 90016

Interview with Mister Toledo for his New Works in Brek’s Dog House Gallery | Exhibition June 3 – June 24, 2023

Thinkspace is pleased to present Mister Toledo as the 2nd artist to exhibit new works in Brek’s Dog House Gallery situated in our beautiful courtyard.

Daniel aka “Mister Toledo” is a Mexican Southern Californian artist, who now resides in Los Angeles. Before he took a leap of faith to follow his dreams, Daniel spent his 8-year artistic career in graphic artistry for several apparel companies like No Fear, Trinity Products, and Wattie ink. Daniel received his Associates degree in Graphic Design from Coleman University, and dedicates his art to his family for inspiring him to follow his journey. Volunteering with Backfence Society a non-profit art organization, Daniel helped elevate the importance of art/murals across the North San Diego area. Daniel continues to draw inspiration from his own life while deeply exploring personal and vulnerable themes regarding the human experience. Working with Artchemist Daniel learned the importance of cross-collaboration and team work. He wouldn’t have been as successful in his transition in Los Angeles if it wasn’t for that.

Our interview with Mister Toledo shares his creative rituals, his major creative influences and how he unwinds outside of work.

What themes were you exploring in this body of work? Did you have a piece that was particularly challenging?

I challenged myself to venture into new territory when creating this series. Drawing inspiration from the current social landscape, I decided to combine graffiti and street-art to explore engaging evocative themes that people can readily relate with. I would like to keep my creative gift a surprise till showcasing them to friends and art lovers, and I am very interested in observing how they perceive my works.

One of the most challenging tasks for me when painting this series is trying to paint 1-inch portrait with realism. Like the one painting of me buffing a wall I swear I repainted that face and head like 4-5 times. I usually like to hide the portraits in my personal work as way for the viewer to imagine themselves as that person in the painting.

What does a day in the studio look like for you? How do you structure your days?

A typical day at the studio begins with a struggle to arrive early, as avoiding morning traffic is high on my priority list. Once I arrive, I share the studio with another artist, Eric Michael, who loves to arrive at the ungodly hour of 4 am to paint. When I first started painting, I did so in my room or my aunt’s garage, so it’s such a luxury to have ample space and numerous art supplies at my fingertips. Painting at home was difficult because distractions were abundant.

It usually takes me a while to get in the groove, but once I start, I find myself absorbed in painting until late at night, even until 1 am. Sleeping after painting becomes a challenge. I typically spend 2-3 days at the studio due to a side job of being a painter assistant and painting murals, which can consume the rest of my time, often taking around four days to complete. Completing murals is taxing labor, so when I finish, recharging my batteries with a well-deserved break is critical. Despite the grueling nature of my job, I find solace in the fact that I can invest 8-10 hours into a long day of quality painting.

Do you have any rituals that help you tap into a creative flow?

In order to tap into my creative flow, I have a few rituals that I follow to help get the juices flowing. For example, I find that listening to music is especially helpful – particularly in the car. When I’m fully engaged in the music, my inner thoughts and feelings tend to drift alongside the melodies and lyrics – leading me to generate a plethora of random ideas. Additionally, I spend time leafing through art books and listening to podcasts that feature renowned artists, both of which serve to inspire and motivate me.

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

When it comes to the creative process, I have a favorite and least favorite part. My favorite part would undoubtedly be the rendering phase, where things start to take shape and appear more lifelike. At this point, I tend to lose myself in the process and simply have fun with it.

However, on the flip side, my least favorite part would be after I’ve finished the painting, as I have a tendency to nitpick and become overly critical of my work. Despite my efforts, I’m often unable to silence my inner critic completely, making this phase particularly trying and taxing.

Who are some of your creative influences? Why do they inspire you?

I draw inspiration from a vast array of individuals, but there are certain notable figures who have had an especially profound impact on me. The golden age illustrators such as Norman Rockwell and JC Leyendecker stand out among the rest. Not only were they exceptionally talented painters, but they were also masters of storytelling. Their art has the power to elicit a range of emotions within me – I can’t help but smile or become introspective upon viewing their works. I relate to their pieces on a personal level, as they’re reminiscent of my childhood experiences and the challenges we face as adults. Considering the sheer volume of paintings they produced over the years, it seems impossible for me to even dream of reaching their level of artistic prolificacy.

A common theme in your artistic journey is community and putting yourself out there in creative spaces that allow for dialogue with fellow artists; what advice would you give to someone who feels anxious about putting themselves out there in social situations? How did you find the spaces that were meant for you?

For fellow artists looking to participate in social events, my advice would be to take the leap and put yourself out there. There are numerous art events and shows to choose from, so simply select those that align with your interests. Conduct research in your area to locate venues that offer art workshops or classes – this can be a great way to meet local artists. If large crowds and strangers are not your typical comfort zone, I recommend starting small and working your way towards more populous events. It can take time to get comfortable socializing with new people, but pushing yourself to do so can be incredibly rewarding. Painting murals is another excellent opportunity for interaction, given the many individuals who will stop to chat about your work as they pass by.

You have a rich background in mural work. Is there a particular mural that is your favorite or a location that has stood out as exceptionally memorable? What is the biggest learning you’ve gained as an artist from the first mural to your most recent one?

Five years ago, upon relocating to Los Angeles, I began exploring my passion for murals. For two years, I worked alongside several artists, eager to refine my skills and improve my artistry – eventually arriving at a point where I desired to start creating my own luscious works of art. After much preparation and seeking out opportunities, I was accepted to attend Paint Memphis. This was a significant moment in my career, as I had never previously visited Memphis and traveled there alone. The festival was absolutely insane – featuring up to 150-200 artists working on murals across a specific area. While I recognized a few familiar faces, I was fortunate enough to connect with a multitude of fellow creatives, many of whom I am now proud to call friends. This festival provided an incredible platform for the development of my ‘Rain Jacket Man’ series, beginning with the first ever ‘Rain Jacket Man’ painting which was a full-length portrait of myself, tumbling down whilst birds flew out of my head. The piece was an expression of challenging times, symbolizing the power of reaching out to loved ones and the importance of connection in arduous situations. The mural helped me open up further and share some extremely personal emotions and feelings to the public.

The ability to create freely without restriction was liberating. I felt the community of artists and locals embraced not only their own craft, but also fostered greater camaraderie among each other, sparkling friendships that crossed geographical boundaries and led to collaborations in various future mural events that I would attend with them too.

If you could have any skill or topic downloaded into your brain, what would you want to be able to do/ be an expert at?

One skill that I wish I had expertise in is the art of color-mixing. Being able to accurately replicate the colors of my references would be a huge asset to my art. While I tend to do a lot of paintings and murals using grayscale or limited color palettes, I very much appreciate colorful works. I am aware that mastering color mixing requires significant time and effort, but I am determined to consistently hone my skillset and gradually improve my ability to mix colors.

What do you hope viewers take away or experience while viewing your work?

My sincere hope is that those who view my work during the show will take a moment to pause and truly immerse themselves into the depths of the pieces.

How do you like to enjoy your time outside of the studio? Do you celebrate the completion of a body of work? —

Upon completing body of work, whether that is a mural or a series of paintings, it is essential for me to take some time to relax and recharge for my next project. Despite my eagerness to dive into my next work of art, I understand that constantly pushing myself without taking a breather only leads to an inevitable burn-out, hampering my productivity further. Nature is my solace; I usually prefer to unwind in quiet and peaceful surroundings like the mountain ranges in San Gabriel as I feel my body and my mind relax with every active second spent amidst the natural surroundings. I find it a profound mental and physical release, helping me to let go of any nervousness or anxiety I have kept within.

Exhibition on view June 3 – June 24, 2023 at:
Thinkspace Projects
4207 W. Jefferson Blvd.
Los Angeles, California 90016

In Conversation with B. Robert Moore this Friday March 24 at 5pm

Join us this Friday, March 24 from 5-6pm for a talk with artist b. Robert Moore as he delves into the stories and influences behind his new body of work, Out the Mud: A Black American Rite of Passage.

Please arrive early, as seating will be limited. Thank you.

Thinkspace Projects
4217 W. Jefferson Blvd.
Los Angeles, California 90016

Los Angeles Times features b. Robert Moore’s first solo exhibition ‘Out the Mud: A Black American Rite of Passage’

Photo Tour of Marissa Reyes’s ‘Fighting Fickle Feelings For You’ and Roja’s ‘Asco’

Thinkspace presents a photo tour of Marissa Reyes’s ‘Fighting Fickle Feelings For You.’ in Gallery III and ROJA’s ‘Asco’ in Gallery IV.

All exhibitions are on view at Thinkspace Projects now through March 25, 2023.

Photos by @BirdManPhotos.

JUXTAPOZ gives full page of love for ‘RAIZ’ exhibition opening!

Full page of opening night photos in the ‘Pop Life’ section of the new issue of JUXTAPOZ for our ‘RAIZ’ exhibition at the Brand Library & Art Center in Glendale, California. New issue now on news stands worldwide.