Showing posts with label drawing. Show all posts
Showing posts with label drawing. Show all posts

Thursday, September 9, 2010

Alternative Comics GERM WARFARE

HEY APATHY  SURREAL COMICS


As I mentioned a few weeks ago, the quality of my blog posts have been directly related to our strange Torontonian weather. During the summer heat wave I found it difficult to spend time at the computer but got inspired again as the temperatures cooled to a reasonably wam level. However since that time things have been topsy turvey and the temperatures fluctuated between a hot humid forty and a cold wet 25 several times during the course of one week. And like this journal, I was heavily affected by the weather. I have been so sick, fevers, coughs, conjestion, joint pains, you name it. This is the first time I've brought the fever down enough to actually type something. Damn it's tormenting to be ill when there is so much work to be done. New Surreal webcomic post tomorrow regardless of my health.  

Thursday, June 24, 2010

Alternative Comics G20 from the streets...

HEY APATHY! ALTERNATIVE COMICS




Today was a very quiet one in the neighbourhoods and main strips of downtown Toronto. The G20 has reaped a previously unheard of force of police security and surveillance through out the streets. Over the past few days I’ve encounter and been interrogated by numerous bike police. There are unmarked vans circle around all the parks and cop cars every few minutes. The city has really slowed down as both noticeable decrease can be scene in both pedestrian and automobile traffic. Today however was entirely uneventful. I strolled around and read in the park and not once did I witness or encounter any signs of official intervention.




There was, of course, for the first time this week a scuffle resulting in one of the most grotesque slapping noises I’d ever heard as a fist flew sluggishly, yet all powerful, into the face of an unsuspecting target. The two had been play fighting but the game obviously had escalated. It appeared to be over when the hard cheap shot came. Admitingly I’d taken alarm to these folk nearly an hour earlier but assumed that local security would get them first. I also knew half way through the fight exactly what was going to happen when the playing was done. These guys wreaked of trouble, though not in any relation to the protests of the summit, but alas there wasn’t a sole cop to be seen. I suppose the rally got out of hand because the foot patrol so demonously overwhelming Kensington and surrounding areas patrol of late was clearly called to another location…

Saturday, June 19, 2010

ALTERNATIVE COMICS of SHADOWS...



HEY APATHY! Alternative Comics



Over the years of my weird studies I’ve read, watched and witness many happenings involving shadows. In stories they have boxed back, hid dark secrets and in a certain instance a ghost impersonated one for a groundhog. On film I’ve seen battles in which ninja move in and out of them and at night I’ve been mesmerized by an odd kaleidoscope of twirling shapes on my ceiling which don’t quite align with the passing traffic which supposedly causes them. It is clear that these unassuming darkened reflections of the world hold secrets which are generally taken for granted.


Having arrived at this deduction I felt it was only natural to investigate the matter more thoroughly . In order to do so I came up with a simple plan involving a few powerful photography lamps and a selection of household products. Setting up my devices in the studio with an intuitive particularity, I proceeded to cast large shadows on the wall of the loft. My intention was to briefly meditate on each form before capturing some quick gestures with my India ink and brush.


I’d no expectations as to what I might find, which as the physicist knows can be both progressive and troubling. It is of the utmost interest to discover things you aren’t looking for, but without direction or intention can one discover anything at all? Well I certainly found out something that maybe I shouldn’t have as the shadows began to take on a life of their own. When casting a mug I found a four legged creature and the mop, broom and bucket revealed a horse. I tried some chairs and a nightstand only to discover a strange form which looked a lot like Australia. And finally I put forth some of my groceries and mixed everything together which projected the clear and precise image of a human form.

That form divided itself into two similar factions both growing horns and dancing about. A third figure, less sleek and more bulbous appeared shortly thereafter and the three unusual creatures enveloped the wall. As they crept around the north side of my studio their shapes grew more definite and their actions less obscure. I could see they were pacing hastily as though in search of object becoming increasingly frantic and frustrated as they went about. It was a horrible scene but strangely fantastic so I grabbed my paper and imitated the forms on the page.

At this the shadows stopped and turned towards me, pointing and relaxing as though their query had ceased. Suddenly I felt a terrible chill which caused me to draw rapidly though I wasn’t sure why and for some reason was accepting of the occurrence. Not an unusual thought regarding these shadow had entered my mind. I didn’t think about the absurdity nor question the movements until the shapes started changing. Like a small clustered disco ball little flickers of light danced from inside, and the dark flat shadows appeared more multi-dimensional. I could see strange organic clusters around the area of the creatures faces revealing them selves in unknown forms which I can explain better with my pen.






 
I rushed to complete the images which still did not bother me for I must have been under some sort of dream spell. The horns and the meat faces became clearly visible as did their hands and small remnants of clothes. Marvelling at the magnificent find I paused for a moment to bask in the weirdness slowly engulfing me. It was in this petrified moment that my senses returned initiated by the most terrifying thing I’d ever scene. Not the horns, nor the hands, nor the clothing astounded me, not even the amorphously butchered globular mess which passed itself as their faces. It was one last transformation which sent me into a panicked fear, finally breaking the hypnotic clutches dulling my thoughts. As the shadows pointed with authority in my direction I saw the them for the first time as something other than shade. One by one they opened their eyes. These eyes were not flat, and were certainly not impressions as not light reflection could mimic a optic so well. Fully developed round juicy blood shot eyes and in some instances more than were appropriate.


Shuddering I’d of screamed if not for a fit of extreme dehydration. Although my parched throat could be accounted for by the photography lamps, I can’t help but feel as though something else was responsible for draining me of my natural fluids. I smashed down the objects placed before the lights in a frenzy to stop this surreal metamorphosis. Breaking to lamps and turning off the others I sat in pitch darkness uncomfortable afraid. The images had vanished but I was still quivering though I had no trouble recollecting the sight of their eyes. I added them to the ink drawings while alone in the blackness fearing both the stark night and even more the cast shadows which would soon return with the rising sun.

Tuesday, June 15, 2010

ALTERNATIVE COMICS an artist's statements

HEY APATHY! Surreal Artworks

Another attempt to explain what I do in 500 words or less, okay it's late and I'm bored but I think this will still prove valuable...

HEY APATHY! Is an ongoing artistic investigation into the metropolis, the people, and the mechanics of being. Using a combination of fine artworks and popular mass media I have developed a visual vocabulary expressing a stern yet optimistic warning towards future days. The entire project, initiated in 2001, reads as an extended narration involving ink drawings, murals, gallery installations, comic books, publications, street performances, video and animation. By way of this interdisciplinary and increasingly public process I’ve determined a vehicle for discourse suitable to both the gallery connoisseur and viewers of all ages. The validity of my life’s work will be examined through a brief analysis of the project’s history, cultural significance and current explorations.


HEY APATHY! Alternative Comics


In the initial drawings (2001) the city was announced as an ominous gear powered by an endless sea of faceless denizens. At that time I was working out an introverted artist’s studio and envisioned the metropolis as a nihilistic conglomeration of misdirected superficial and commercial ideologies. In order to better understand the phenomena in question I developed a uniquely extroverted artist’s process through which public presentations, performances, interactions and interventions would help resolve my inquiries. Since that time I have used the public forum to initiate exchanges with peoples from all over the world and of all walks of life. With each passing year I learned more of architecture and others as reflected in the ultimate progression of my works. Today the city is still rendered as a giant gear, only now it is fuelled by all sorts of strange individual rather than anonymous cogs in a machine.



The primary objective of the “HEY APATHY!” artworks is to produce a commentary simultaneously intellectually provocative as well as accessible to viewer of all ages. In order to best achieve a dialogue amongst broad audiences I have assimilated various technical approaches. Equal attention has been given to the development of sustain studio artworks and to the production of multi-media and accessible artworks. By experimenting with various presentation techniques, and one on one interactions my artwork delves into humanist themes introducing unsuspecting pedestrians to alternative ideas usually reserved for gallery walls. Through the inclusion of street performances, animations, and comics, HEY APATHY! is capable of communicating to an inclusive audience of all ages, races, and walks of life.


To the artist interested in initiating mass dialogue the possibilities of multi-media artworks facilitates necessity. In my most recent studies I have developing a series of videos, comics and art books suitable for both online presentation and gallery exhibition. I am currently creating a new hand drawn animation sponsored by the Ontario Arts Council in which over 300 fully rendered stills will be compiled on film. The idea being that the finished artworks will be prepared as a wall installation to accompany the film. The unique and extensive project travels through 13 short vignettes recounting the evolutionary narrative expressed throughout my art works including imagery developed between 2001-2010. The completed project will not only extend my technical vocabulary but will further my attempts to reconfigure popular culture, fine artwork as a sophisticated yet accessible conversation. The “HEY APATHY!” endeavour continually exposes a humanist ideology crossing the irrational barriers which segregate one man from another retaining much significance universally and decidedly Canadian. (Damn 541 words but close and better luck next time!)

HEY APATHY animation sample from FLIES HOLES AND ROACHES 2002

Wednesday, June 2, 2010

STREET ART Chronology 2005 Part 3

 HEY APATHY! Alternative Comics!

During my first season on the Queen West (2004) I was basically the only practising artist amidst a sea of artisans and jewellery vendors. However as a result of my success, exposure and personal recommendations the street soon filled with fine art. Painters, illustrators and photographers quickly joined the parade as Queen St. West became a hub of adventure and a happening spot for local exhibitors. On any given weekend as many as 20 artists set up shop all around me and the life force and energy was breaching unknown heights. At first the growth was exciting and I felt overwhelmed with creative inspiration yet as I mentioned before the exhilaration led to many difficult situations. The city by law enforcers took note of our activities and perpetually swept the streets clean. It was brought to our attention that our activities were illegal.

MONSTER COMICS street performance


Almost every Saturday morning the officers would come down and threaten us with tickets and seizure of our goods. To our benefit this quickly cleared out most of the jewellers and artisans as they hadn’t a leg to stand on as most of their products were not hand made. We often found ourselves packing up shop and hiding in local cafes until the City of Toronto trucks disappeared. As soon as the coast was cleared we would return to the streets and start up our productively creative activities once more. Eventually it got to the point were this would happen more than once in a day so we were forced to confront the police and attempt to stand our grounds. Fortunately this bold action was met with some leniency as the officer’s gave us instructions on probable means of gaining licences. This information led us to 112 Elizabeth Street, the former bureau for Torontonian Municipal licensing. The officers in that building attempted to turn us away but eventually granted us the same permits one uses to busk. Technically this prohibited the sale and display of our artworks allowing only for performances and the collection of donations. However having discussed the situation and followed their advice the particular enforcers working on Queen Street let these permits pass. For the rest of the season most of us operated semi-legally using the 25 dollar buskers license as a sign of respect. The by-law officers let the permits pass and we no longer felt intimidated and worked free from despair. Interestingly enough only a handful of artists actually acquired these permits yet the officers seldom checked in on the rest.

Having stumbled over one of the streets major hurdles the act of public exhibition became stress free but for me the problems had only begun. Now that we were legal a new war had begun as I found myself perpetually hounded by viscous completion. The reason I say viscous and not healthy or competitive is because several new street vendors started taking aim directly at me. The first such encounters were in regards to my spot. There are unwritten rules regarding ones set up location, however the truth be told the situation depends on somewhat of a first come first serve ideology. Midway through my second season performing I’d carved out a nice little spot for my self underneath a large tree. There was nothing particularly distinguishing about the location when compared with the other’s but like all a creatures of habit I’d taken to a liking to my concrete home. I was clearly the most successful artist on the block and by some strange psychology many other’s attributed my sales to the spot. On numerous occasions I’d arrive to find one of my “colleagues” set up under that tree. They mostly argued that the spot was the best though I as one of the few who had purchased the permit I generally had little trouble reclaiming my land. To avoid the aggravation I was forced to set up early each morning knowing full well that my competetors had aimed to steal my position, not only physically but in terms of recognition.

The situation elevated as those same artists, who I’d introduced to the practice, started imitating my artworks as well location. More and more black and white images started appearing on canvas’ once dawned with color and at least three other street vendors started drawing with hand made bamboo pens. I saw heads split in two with word bubbles citing “This keeps happening” right beside my exploding heads which spoke out phrases like “not again!”. I tried to ignore it but the situation reached new apexes and I was forced into confrontation right out in the streets. On one occasion I actually had to drag another artists paintings across the sidewalk were I put them beside mine and embarrassingly pointed out the exacting details of the compositions. In another instance I arrived extra early only to find one of the artist, formerly of color work, had spread a large sheet of white paper in my regular location and was drawing building with ink. This may all sound bizarre but I ended up confronting and obtaining confessions from numerous artists as well as collected samples of the imitated artworks which I've chosen not to include in any publications for various reasons including good taste.The entire situation became unbearably frustrating but through determination, perseverance and by waking up really early in the morning I finished the season successfully despite the absurd irritations.

Toronto Skyline Ink on Board Sept. 2005

All this frustration aside the majority of the work brought to the streets was fresh and unique. Many of the artist celebrated individual triumphs and impressed and contributed to the little carnival which continued to grow  into major attraction in the city of Toronto 2005. The entire ordeal both good and the bad pushed me in positive and innovative directions so that by the end of the summer I’d revised my display and expanded my drawing techniques. At the end of the season I stopped painting rapid live performance artworks and sat back to sum up my discoveries through a series of extremely detailed pen and ink studies. Had it not been for the copy-cats and criticisms I might not have been so determined to push the artwork in new directions. Between the Sept. and Oct. of 2005 I made 33 intricate illustrations which were reproduced as prints replacing all my small hand-drawn artworks included in my street art exhibitions. To this very day these drawings, which took as long as 150 hours, remain as some of my favourite artworks in the HEY APATHY! Collection.  (street art chronology continued tomorrow season three 2006)

The City Monster ink on board Sept. 2005

Saturday, April 24, 2010

ALTERNATIVE COMICS Giant Robot Dreams

HEY APATHY! Alternative comics Robot Drawing

A Giant mechanized monstrosity works it's way through the streets. With it's clambering heavy movements and predetermined coarse, the twenty-five foot, six thousand pound Robot subliminally forces the flow of pedestrian traffic. Herding the denizens along unseen patterns, the machine omits toxic fumes, has claw like appendages, and uses it’s impenetrable posture, dubiously prodding citizens in and out through the shops. Upon extensive examination one might still believe that these tracks appear random, however the answer can be found in the divisions apparent when surveying the crowd. For in front, the machine grasps at people with unbiased ferocity, while those who stand behind it, always appear more piggish than human. As of the Robots cast shadow, a crew of heterogeneously boar like beings gather, reaping the rewards and the refuge of the cybernetic aggressor. Looking only towards future days, the massive Technology mercilessly advances through infinitely spiralling City of Gears.

This 15 x 15 inch open and ink illustration was one of the first drawings I did for the CHAPTER TEN of my mythology. It was created while I was working as a full time professional street performer and made on site as I witnessed the mechanical monsters and it’s cult business following. The original small drawing took about an hour to complete and was later revisited in performance as a 6 x 4 foot street painting. This was the only drawing in the series that did not get a background landscape because it started to rain abruptly terminating the outdoor session. 
 

Saturday, April 3, 2010

ALTERNATIVE COMICS in SPACING MAGAZINE

HEY APATHY! Alternative Comics in Spacing Magazine!

I did an interview with Chris Bilton over at the Extempore Studios and few months back and finally saw the results this past weekend. It was pretty cool talking to Chris. Chris has been following the HEY APATHY! mythos for many years now. He really new his stuff and had done a lot of research regarding my development as an artist. The article turned out really well and the magazine is awesome. There were also some interesting quotes from Kelly McCray, a really big-time art dealer in the Toronto scene, which was kind of nice. I found it a little weird that the article stated that I  won an award from MOCCA when in fact the afore mentioned honour  was from David D'Angelo, one of the curator's of the MOCCA not the institute itself. Other wise I thought the article was awesome. I posted the cover of the magazine and a little bit of the story, but you'll have to go out and buy a copy to read the rest. Highly Recommended amd not just because I'm in it!

P.s. It was about 30% here in Toronto today so I took it easy and sprawled out in Bellevue park reading tonnes of E.C. Shocksuspense stories including a few Bradbury adaptations. I tell you this stuff is great and I never fail to crack up, even burst out into laughter, when I get to the last panel! Even the freelance illustrator deserves a day of luxury, rest, and shocking tales once in a while!

BLACK MAGIC PRACTICAL JOKES #669
(a little EC homage)


Tuesday, March 16, 2010

Alternative Comics "CHAMBER MUSIC" and Online Comics

Alternative Comics Page unlettered montage of artistic process'

The beautiful sunny start to the week continues as we reached a moderate +14 today and expect even higher temperatures tomorrow. The spring weather always means a heavy workload. I was it contact with both a toy designer and the co-ordinator of the annual buskerfest this morning discussing future projects. Then I took the mid day off to see a free classical concert at the new Opera House on Queen Street. The free show was advertised as a CHOPIN tribute and I pretty much just went to check out the hall with a friend when much to my surprise and delight, the tribute was declared an homage and all three pieces were contemporary compositions by up and coming professionals. I saw a few elderly folk exit after the first piece and a child blurted out "this sounds crazy" in the middle of the second orchestration. The stuff sounded more like Stravinsky than it ever did CHOPIN, and I laughed to myself at the disappointed, yet utterly mislead audience.

I got back to the studio, barely escaping the urge to read in the park,  finished two pages of online comics, posted one of them on twitter, and scratched away an hour at the Gary Bartz portrait. With the new projects coming I have got to wrap the jazz caricature up. More art at http://www.heyapathy-comics-art.com/






Thursday, February 18, 2010

LIFE OF AN ARTIST Comic Portraits Neil Gaimen




Neil Gaimen giving "instructions" of the utmost urgency.



Each and every morning I set aside a short sequence of moments in which I find both pleasure and business in the act of reading. In pleasure the time spent allows me to escape and enjoy life in an unusual manner and in the business of thought I always learn something, a new word , a new connection or how to avoid police suspicion after committing a diabolical act.


I generally tend to choose the readings based on the amount of time I can allocate and find my self frequently returning to short stories, articles, and comic books due to the limitations one decree's as a freelance illustrator. Today however I figured it was best to take a comic to the cafe not because my time is limited (obviously) but rather because the peculiar prerogative of the February wind chills. It is damn cold outside but nothing like the previous winter and I had calculated that I could last outdoors with my coffee and the fresh air for approximately 20 minutes.


Therefor I reached blindly into my library grasping a copy of Neil Gaimen's "Dream Country" and decided to kidnap Calliope while i caffeinated myself. I must have read this a million and six times by now and it never gets stale. The spine tingling sensation and un-namable understanding that comes with good horror I got from these books as an adolescent hasn't faded a bit. These were among the first truly incredible comics I ever read, and , having been bored and disgusted by the exchange of script for slash which dominates the genre, restored my faith in the macabre. Thanks for all the wonderfully pretty stories Mr. G.


As is also part of my daily journal's and artistic warm up, I followed the inspiration with a little sketch of the monstrous muse. I looked at some press shots of Neil and thought they were as silly as a sandstorm in the sea so I did the drawings while watching him read one of his poems entitled "Instructions" instead. The portraits took about 5 minutes to draw, which is how long it will take you to listen to the story on youtube.Highly Recommended.

Wednesday, February 17, 2010

LIFE of An ARTIST STREET MURALS


Kensington Market Street Art

HEY APATHY! I spent almost the entire day working on-line. The fiasco which has become my life (as an artist) was enveloped by resizing and uploading images since 8 am this morn. I have been trying to apply online for the 2010 Toronto Outdoor Art Exhibition for a couple of days now. Unfortunetly I had to wait until yesterday to get in contact with a staff member because we just had a long weekend here in Canada. Nevertheless the crew over at 401 Richmond running the T.O.A.E. is incredible and all my queries were answered first thing following the holiday lay off. So I proceeded to prepare my slide list and support materials only to discover late last night that I did it all wrong and my images turned out to be way to small.(Oh there is never a dull moment in the life of an artist.)Following my uploaded defeat, I gave up on the application and worked on some sketches for the remainder of day.

Today, however, was a new day! I completed the resizing and uploading in record time without a single glitch and I suppose I got into it and carried away. I just kept uploading and resizing and uploading and resizing and only a few moments ago ( it is now 14 hours since I started) came to a standstill having completed about 5 new pages for my website. I am building the damn thing myself so don't expect too much on the technical side but I think the curation of my madness could not have been handled by any one else. Check out my updated MURALS page at www.heyapathy-comics-art.com/MURALS.html . I uploaded all the image and text links today so there a new galleries within the gallery. I'll try to get the essays explaining the significance of each mural on there tomorrow but for now I am very,very tired.




Toronto Garage Mural Acrylic on Brick 2007

Friday, February 12, 2010

Life of a Canadian Artist


SUBMISSIONS!SUBMISSIONS!SUBMISSION. Today was a day of buearocratic paperwork. Alas the life of an artist is not all killing monsters and blowing up buildings. Sometimes us creative folk actually have to do work. Especially those of us without representation, so it goes. Fortunetly for me my organizational skills are starting to come together and I've much experience in the feild. The result being that these proposals get easier each time ( and subsequently increasingly profitable). This is a particularily busy time for the paper work as a number of the events I take part in annually have deadlines falling between Feb 15 - March 1. I sent a few things out over the web today including my Nuit Blanche application. Last year I did a live street painting & musical performance on Queen West. This year I'm going to try and get you guys to do all the work as I hope to install and conduct a sort of open canvas workshop in the same location. Truth be told I sick of drawing pictures and if I can get someone else to do it all the better! Just kidding. Actually the most exciting part of all my public performances and interventions has always been the interaction between my self, my art, and the audience. I thought it might be interesting to try and break the boundaries between artist & viewer through a more interactive performance this year. It will defenitely be interesting and very likey quite messy. Here are some samples of the kind of work I have to put into these proposals.

Floor plan foor a 10 x 20 ft. Multi-media Public installation:



The proposals also require visual support material of past projects. This one's from the Toronto Outdoor Art Exhibition: