December 12, 2020 – January 2, 2021
Thinkspace is pleased to present a virtual tour of Super A’s ‘Apostasy’, Manuel Zamudio’s ‘Sunsets In The Apocalypse’, and Kyle Bryant’s ‘Out of Many, One’.
Explore the inaugural exhibitions of our new space from the comfort of your home here: https://players.cupix.com/p/iZuyMDic
Virtual tour created by Birdman
Thinkspace is pleased to present SUPER A’s ‘Apostasy’, Manuel Zamudio’s ‘Sunsets In The Apocalypse’, and Kyle Bryant’s ‘Out of Many, One’.
December 12, 2020 – January 2, 2021
SUPER A – ‘Apostasy‘
Inspiration behind the exhibition: Before I started this series called “Trapped” one of the returning subjects that always inspires me is contradiction. Two opposites that create an interesting tension.
I wanted to show two worlds in one piece. I came up with some ideas to get it done but all too complex.
While writing down some ideas about the fake world that surrounds us I tried to literally wrap a cartoon version around the real version. And link it to daily life where people are comfortable with wearing a mask so we don’t have to show who we really are. Interesting how for example we worship cartoon characters like Mickey Mouse but when we see a real mouse we jump on our chair and start screaming.
From there the Trapped series was born. For me it came at the right moment as I was always telling one story in one painting, and then immediately move on to the next which was always pretty exhausting and I found I got a bit tired of constantly digging into all the things that somehow frustrated me to come up with new concepts
So for now it’s quite enjoyable to focus on this theme and slowly develop new ideas
Manuel Zamudio – ‘Sunsets In The Apocalypse‘
Inspiration behind the exhibition: Ever since I was a child I was very interested in the apocalypse, sci-fi, comics, and those kinds of things. In the last couple of years, I started getting into cinematography and trying to understand films a little bit more visually. So when I wanted to start changing the kind of work I was doing, transitioning from graffiti characters to more of a realistic body of work, I decided to use my love of film and my love of apocalyptic storytelling as inspiration. Then once the pandemic hit, I feel my work took much of a darker turn as far as the apocalyptic scenery. Like the classic line goes “does art imitates life?” here, life imitates art.
Kyle Bryant – ‘Out of Many, One‘
Inspiration behind the exhibition: I’ve always been obsessed with birds in places that they don’t belong. There’s something that gives me great joy about a bird flying around in a bus station or airport. One night I had a dream that I was waiting for a plane and was literally a part of the flock. That’s when I decided to do a huge amount of birds.
The project itself has two meanings. On a personal level it’s about growth and development. Like many people in this world, I’ve had my struggles. I ran from those struggles with alcohol as my running mate and eventually became a person I didn’t even recognize. Through getting sober I have learned that what’s important is me, and my mental health. The idea of using many birds to create one image is a metaphor for all of the little things that need to be in place to have a life worth living, to be the best version of yourself that you can be.
The broader meaning for this project is about finding common ground amongst each other in society. Far too often we are divided by our differences. We have all of the little subsets of society fighting with their opposing subset over the little details and they miss the big picture, that we’re all just pawns in this game and actually have very little control over anything. I believe if we put our egos aside, focus on our similarities rather than our differences, we will be able to come together as a human race to solve the problems that face us and future generations.
Information on visiting Thinkspace Projects
We are offering timed visits each Saturday during the remaining run of our December exhibitions. Appointments can be scheduled by visiting the following link: https://thinkspaceprojects.setmore.com/
Please note that masks will be required at all times and social distancing enforced. There are no exceptions, as we want to assure the health and safety of our staff and patrons.
Video courtesy of Birdman
NEW LOCATION:
4217 W. Jefferson Blvd.
Los Angeles, CA 90016
Thinkspace is pleased to present ‘Sunsets In The Apocalypse’ from Mexico-city born and McAllen, Texas-based artist Manuel Zamuido.
As a self-taught artist, Zamudio started perfecting his technique by replicating comic books, without knowing or understanding the human figure, and the concepts of color schemes. Once Zamudio grew older he started taking an interest in the urban culture of South Texas, learning color scheme, perception, shadow and so on from local graffiti artists.
Zamudio’s new body of work has been immensely inspired by great works of cinematography, street art, and post-apocalyptic sci-fi novels. Using portraits as a snapshot of his own movie, blending reality with the surreal.
In anticipation of ‘Sunsets In The Apocalypse’, our interview with Zamudio discusses cinematography, his inspiration for the show, and how he taps into creative flow.
For those unfamiliar with your work, can you share a little about your artistic background and how you became connected with Thinkspace Projects?
Well I am a self-taught artist and I’ve been drawing since I was very young. About a decade ago I really got into graffiti and it was there that I really got into color schemes and trying to become a more technical artist. The graffiti crew I was with taught me a lot. The last few years is when I started to mix graffiti into my paintings and the color schemes I was using then, but instead of focusing on graffiti characters I decided to go with portraits, so kind of mixing two worlds together and giving it an apocalyptic vibe. I became connected to ThinkSpace through the happy place contest they held this year due to the Covid pandemic. I was very fortunate to win the contest and start working with them.
What is the inspiration behind this latest body of work?
Ever since I was a child I was very interested in the apocalypse, sci-fi, comics and those kinds of things. In the last couple of years I started getting into cinematography and trying to understand films a little bit more visually. So when I wanted to start changing the kind of work I was doing, transitioning from graffiti characters to more of a realistic body of work, I decided to use my love of film and my love of apocalyptic story telling as inspiration. Then once the pandemic hit, I feel my work took much of a darker turn as far as the apocalyptic scenery. Like the classic line goes “does art imitates life?” here, life imitates art.
Do you have any pre-studio rituals that help you tap into creative flow?
I think the two main rituals for me when trying to build a piece are going on long runs with a film score on play, that can help me visualize and feel what I want to say with the work. The other is watching movies at the end of the night and dissecting the cinematography.
What was the most challenging piece in this body of work and why?
I think the most challenging for me was “Childhood Fears” just because of the detail and its larger size. I remembered having to work four 10-12 hour days back to back, I definitely had a work hang over after that haha.
Who are some of your creative influences? They do not have to be painters, but those whose work has inspired you and impacted you creatively.
Some of the most influential people for me the past decade or so would have to be Stanley Kubrick because his beautiful work and discipline with his craft. Another would be Terrence McKenna because his books and talks can really help you think outside the box. Last but not least is Nas because in his early work he spoke a lot about rising above terrible life situations which really helped me stay on track. In general a lot of the golden era hip hop inspires me, I guess that’s where my love for graffiti came from.
If you could sacrifice one of your five senses in exchange for psychic ability would you? And what sense would you give up?
I think I would definitely give up smell, I’d get used to it. For sure worth the psychic ability.
It’s an unprecedented time as we’re experiencing a global pandemic. How have you been coping/ navigating life during this time?
Since the quarantine and lockdowns have been happening I think it really just made me put even more time into my work, it just made me more focused especially getting ready for the show. Not too many distractions.
Do you have a party trick? i.e. A trick such as might be performed at a party for entertainment; an unusual act regarded as one’s speciality.
I don’t know if I can consider this a party trick. But I am extremely clumsy, so usually at a party I always spill a beer or drop something. I think my friends are used to it by now. Haha
If your work inspired a Ben & Jerry’s ice cream flavor what would be the ingredients and the name of the pint?
Chaotic Enlightenment Cherry Swirl
Opening Reception: Saturday, December 12 from noon to 6 pm in Gallery I*
masks and social distancing required at all times
On view December 12, 2020 through January 2, 2021
Thinkspace Projects presents:
MANUEL ZAMUDIO
Sunsets In The Apocalypse
December 12, 2020 through January 2, 2021
Manuel Zamudio comes to us from the depths of the talent rich city of McAllen, Texas. He was born in Mexico City, DF, and has made his way to Texas since 1992 at the age of 5. While dealing with the challenges that often come with assimilating to a starkly different culture at a very young age, Zamudio found refuge by immersing himself in art. As a self-taught artist, Zamudio started perfecting his technique by replicating comic books, without knowing or understanding the human figure, and the concepts of color schemes. Once Zamudio grew older he started taking an interest in the urban culture of South Texas, learning color scheme, perception, shadow and so on from local graffiti artist.
Zamudio’s new line of work has been immensely inspired by great works of cinematography, street art, and post-apocalyptic sci-fi novels. Using portraits as a snapshot of his own movie, blending reality with the surreal. Zamudio’s new work will be exploring new methods on how to bring cinematography onto the canvas. As Zamudio writes:
“What remains of aesthetics in a fading world? When the veil of order crumbles and the weariness of decay sets in, the soul of a society thrives, or dies based solely on the affirmations of its unique individuals upholding what identity there is left.
Although despair can weigh heavily even on the lightest of humanity, perseverance in the face of hopelessness, or even madness, can become the strongest fight against inhumane desolation. In the last vestiges of a dying culture, the embers of expression are imbued in even the dimmest of lights.”
