MONSTER COMIC STORIES 2002
MONSTER ANALYSIS
MONSTER INK DRAWINGSTelepathic shockwaves from the collective unconscious! The MONSTER comic drawings scream primal messages of hope and fear from within the human psyche. These Rorschach type ink stains express a universal language derivative of emotion, experience, animalistic perception and unspoken truths. In search of iconic demons and propelled by a devotion to socialization, these quick ambidextrous analysis’ reach the darkest lobes, while simultaneously dancing playful and humorously monstrous, through out the mind‘s eye. THE PARABLELost amidst the faceless crowds, one is easily enveloped by the “giant conversation”. each individual partakes in a communicative ballet without ever speaking, hearing or even understanding a single sound. A brief shove, a quick glance, the feeling of something outside of our periphery, all part of the exquisite dialogue!Taking a moment to step out of time with the traffic, inhaling a deep breath, forgetting our eyes, and we discover...MONSTERS! Strangely terrifying, yet humorously non-threatening, these childlike scribbles echo throughout the empty spaces, residing between routines and thought. The crude hieroglyphics shed physical preconceptions presenting a symbiotic level of understanding, ultimately revealing the true characteristics, hidden devils, man as animal, and the collective nature of the individual experience. Each monster comic panel is dedicated to a single portrait, a single fear, and single joke. The characters are simultaneously recognizable and indistinguishable, as familiar strangers. Perhaps one of them used to live under your bed or the basement stairs? Or just maybe the “MONSTERS” reside in the back of your mind? 
ARTIST'S PROCESSIn order to best describe these creatures of sublimation, I proceeded to develop a unique Monster comic drawing process. Designed to access impulse and intuition rather than planning and precision the new technique would differ drastically from those of the previous investigation (HEY APATHY & THE APOCALYPSE” 2001). In an attempt to breach routines and excel beyond rational imagery, I created an ambidextrous “drawing association test’ environment. I continued to use the same hand-carved bamboo pen, as in the earlier artworks, yet shifted from weeklong, precise and meticulous studies, to rapid, left handed gestures. The new works were made with as little regard as to the final outcome as possible. Instead the stimulation was born out of the psychological exploration as opposed to the results.
THE THEMEThe theme of the artworks was derivative of my increasingly physical immersion in the city. The initial comics represented the metropolis as viewed by an outsider, lost in a sea of anonymity. Having relocated downtown, I found my self constantly surrounded by a sort of lifeless life, and new investigations pursued. I began to realize that each of these brief passers by was communicative and had a whole world, not unlike my own, inside of their heads. These primitive monster scribbles were inspired by moments of intuitive discourse while roaming the busy city streets.THE SYMBOLS
I chose the “portrait” as the primary symbol for the ink drawings. These monsters were meant to express the nature of body language and the communicative prowess of non-verbal discourse. Therefore I chose the human face as the metaphor for it is the most expressive and misleading of our physicality’s. The dome which shelters the psyche. It is also of no coincidence that the inspirational flashes which first conjured these images occurred after observing and making eye contact with various strangers hustling about the downtown core. In each of my artistic investigations a limited number of symbols is determined. This limitation helps maintain direction and allows me to explore specific themes to the fullest extent.
DRAWING TECHNIQUES
By this time I had become quite proficient at using the bamboo pen with my right hand. So in order to challenge and expand the creative possibilities, I chose to make the MONSTER comic drawings left handed. Initially this proved almost impossible and forced upon the process a pace and spontaneity, unlike anything produced by my practised arm. Each drawing was limited to a 1 minute study, and created in sessions of 30. Approximately 10 sessions were completed over the coarse of two weeks compiling some 300 bamboo and ink on paper creatures. Prior to each drawing session, I would take a brief walk down some of the busiest streets in hopes of capturing more of the unspoken symbology and transmuting unto the page.
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