Taken on their own, any one of these elaborate elements would be rad: the lovely branch sculptures, the fiberglass oak tree replete with fur-lined nook– to say nothing of the massive bunk-bed fortress. Put it all together and the experience is simply divine. These pictures cannot do justice to the outstanding amount of effort put into the Where the Wild Things Are pop-up shop– an effort that paid off in spades. And of course, Christian Joy’s insane costumes looked marvelous as the vibrant centerpiece of all the Space 1520 wildness.
Across the courtyard, Spike and Lance Acord took over the gallery, filling it with Sonny’s astonishing early sketches– the crucial seed of inspiration that blossomed into the film’s unique character design. Alongside those rad drawings, the gallery was covered in enormous, beautifully printed photos from a league of brilliant photographers Spike had invited to document the breathtaking bizarreness of Where the Wild Things Are’s production.
Sonny, meanwhile, made an entire gallery wall his canvas, composing a dreamy painting of Max and Carol taking a nap the night before the opening. Spike would like to note that he lent at least a couple of brush strokes to that massive mural. Really, it couldn’t have been done without him. Even Max Records stopped by the gallery, in town to shoot a rad-sounding robot-related short film. No relation to Spike’s recent robot short, but can one ever have too many robots? No. Of course not.