HEY APATHY! Surreal Comics
Since my primary attention is currently being given to the development of an extensive hand drawn animation (sponsored by the Ontario Council for the Arts) my current artistic practice is rather repetitive and mundane. It takes at least thirty similar drawings to make a character move for a couple of seconds, so you can imagine it can be days of work before the concepts or technique evolve even slightly. However to keep my imagination from slowing to a factory like pace I am producing a number of short comics in my sketch book on the side.
These comics are turning out to be really fun. I have often kept a comic-sketch book as a means of stream of conscious expression. The idea is basically to use up a sketchbook entirely with comics so that the completed book could be presented as a work of art ( wouldn’t that be funny?). I tend to use a single page technique wherein each page is a whole strip or series of funnies. The cheap sketch book works well because it eradicates any intimidation freeing me of all preconceptions of what the drawing should be. I know that these cartoons have to be done quickly and are on low quality paper , therefore I needn’t bother with planning, revisions or technical fidgeting. The work just really let’s me explore my weird brain, letting whatever happens happen and try to figure out what it’s all about later.
I’ve done this experiment at least four times in which I produced two volumes of STUPID COMICS, a tastelessly twisted homage to Crumb and the underground comics movement of the sixties, three issues of DOWN, a surreal creature feature about men as monsters as well as machines, and a large graphic novel entitled THIS DOESN’T MAKE ANY SENSE. For the most part these books are compiled of single panel or page cartoons involving specific thematic and technical explorations using an unplanned free form approach. One of the most interesting aspects of each of these projects is how that despite being entirely unscripted and often plotted as individual parables, the books always end up stringing together chronologically to reveal a hidden narrative. I say hidden because one, the larger story-arcs are not always easily apparent and two, because I didn’t even realize I was writing them at the time.
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