ALTERNATIVE COMICS STATEMENTS PAGE 3
ALTERNATIVE COMICS SYMBOLSThe second step in the alternative comics process, after deciding on the theme, was to create the symbols which would represent the topic or “fable”. The “HEY APATHY! & THE APOCALYPSE” codes were comprised of two very simple, yet decisive images. The first, small repetitious circles, symbolizing the faceless people of the crowds, and the second, large ridged rectangles, depicting the cold lifeless buildings. The same metaphors were to be presented as a diptych . One set of nihilistic landscapes presenting the city in it’s current state of apathy , and a second set of apocalyptic scenes of the metropolis' annihilation meant as a warning against the possible ramifications of our excessive existence. In each subsequent series I would continue to work with a single theme, and limited visual vocabulary, yet perpetually develop increasingly complex narratives and compositions.
DRAWING TOOL & TECHNIQUESThe third step of the creative process, simultaneous to the development of symbols, was to determine a drawing technique. I chose to create the entire series using only a crude hand carved bamboo quill pen ( the legend of the man who draws giant black & white pictures with a stick has since become part of Torontonian mythology). Stonehenge paper was used for the artworks because it provided both the capacity and weight required to produce the oversized ink drawings. The reasons for working with such an usual drawing instrument were both symbolic and technical. The notion of using a hand made pen represented dedication, hope, humanity, and hard work . The technical advantage of the instrument stems from it’s difficult and imprecise nature. The old adage, “wearing large rocks on your legs when learning to run so that when you take them off you can really move” , applies here. I predicted that the mastering of such a clumsy tool would prove invaluable to the development of my drawings and alternative comic skills. The practice proved especially useful years later during my street art performances, in which disagreeable elements, and peculiar occurrences, play a primary role. DEVELOPING A LANGUAGEThe forth stage of development included further investigation and expansion of the original symbols and drawing techniques. I started exploring the “HEY APATHY! & THE APOCALYPSE” images through a series of small ink drawings. In this stage various sub-symbols, using only circles (people) and rectangles (buildings), were created. The iconographic “City of Gears” and “the falling people” were both conceived during these small investigations.This stage of the process is similar to a traditional artist’s “sketch book” , however in the case of the “HEY APATHY!” drawings, absolutely no corrections, nor censorship of the images ever takes place. Every stroke of every drawing is left as is, and absolutely every piece of artwork is included in the exhibitions. This inclusion of all artworks allows for a spontaneity and narrative quality which cannot be achieved through any other practice.
FROM SMALL DRAWINGS TO GIANT BILLBOARDSAgain the small drawings were created entirely with the bamboo pen & India ink, start to finish,and without corrections. Between Jan- March 2001, I completed approx. 60 smaller artworks, and 15 larger alternative comics drawings ranging from 2 x 3 ft. to 4x 6 ft. This collection was exhibited in the O.C.A.D. Drawing & Painting Showcase late March 2001, and later won a scholarship from the same department. Upon completion of this first exhibition, I had discovered a means of discourse and began discussing the idea’s behind the artworks with numerous students, teacher’s and faculty members. Realizing the project had merit, I had to decide the next step of my investigation.
LARGE ARTWORKSThe sixth stage of production involved the creation of large scale murals. These oversized alternative comics drawings were inspired, if not intimidated by, the power of advertising.While walking through the streets of downtown Toronto, mediating on the surroundings, I became enraged at the billboards in all their meaningless glory. At this time, remembering Jodowosky’s film, I had the inspiration to manipulate the billboard’s technique of subliminal emancipation in order to tell a valuable story. I too could re-create reality, at least within the walls of a gallery. I therefor resigned to continue the “HEY APATHY!” study for the period of one full year. The ultimate goal being to develop a grand scale environmental alternative comics drawing installation. I would build my own city, one made of truths, yet retaining a sense of optimism. This absurdist experience sparked the creation of several large scale ink murals, a trademark feature in all of the future “HEY APATHY!” exhibitions. The summer of 2001 was dedicated to the creation of these “billboard” drawings. Using only the hand carved bamboo stick, I illustrated 13 giant depictions of “the City of Gears”, “the City of Graves” and “the Apocalypse” . As a full time landscaper, I generally worked on the paintings in a series of 5-7 hour evening drawing sessions following the day shifts gardening. At the end of the summer, my studies and commutes to the college resumed .
ALTERNATIVE COMICS AND AFFORDABLE ARTWORKSThe seventh component of the installation was the unconscious inclusion of “affordable artworks”. Having compiled a satisfactory selection of large works already prepared for exhibition, and in order to accommodate my academic and travel schedules, I started working on a set of 250 small ink drawings .As part of a systematic methodology, all the small ink works were made during commutes to and from the college. Refillable technical pens , and thick cartoon lines, similar to my early comic book illustrations, were used for these travel artworks . At this stage the exploration started investigating a series of abstract narratives revolving around the original cityscape symbology. More isolated figures, and sequential story arcs appeared in these detailed alternative comics panels. The inclusion of a wide selection of small artworks would also become a signature in the “HEY APATHY!” installations. As an artist interested in alternative mass communication, the development of affordable artworks proved invaluable. The creation of these small drawings can be considered the precursor to my “merchandising stage“. After creating the bulk of the installation, a number of smaller artworks were produced to enhance the 2002 exhibit. In the case of the initial series the artworks were all hand drawn and sold for around $20 each. Since that time the small drawings have been successfully replaced by the creation of alternative comics, t-shirts, pins and prints.
ALTERNATIVE COMICSThe eighth step to the artistic processes involved the creation of an alterantive comic book interpretation of the theme. Although the decision had been made to develop art , rather than comics, the shock of the attack on the World Trade Center, possessed me to pen a series of short stories. It was while sitting at the college, touching up some of his small artworks from the morning’s subway ride, that the events of Sept. 11 took place.Before I could make any realisations, or any connections between the parable I was working and the events that had just taken place, three short comics were finished. The fables view the events of Sept 11 from three different interpretive perspectives; an immediate reaction, an oneiric vision, and a contemplative satire. These short stories were originally published in “zine” format and have since been restored as part of the “HEY APATHY” online alternative comic collection. The addition of short comics has since become standard practice throughout each drawing series.
ALTERNATIVE COMICS ANIMATIONSThe ninth stage in the process involved the creation of animated interpretations of the drawings. Upon completion of the comics, and as classes intensified, I began experimenting with animation. Having grown a distaste for the Drawing & Painting instruction, spear headed by a departmental decision to force Viktor Tinkl into early retirement, I switched my enrolment and began studying film and video.Through the invaluable guidance of film professor John Coull, a number of cartoon tests and short hand-drawn-directly-on-film animation loops were developed. Following these miniatures, I spent a three month period drawing the some 2000 cartoon stills required for a 2 minute film. “HEY APATHY! Civilisation & it’s Discontents" was completed before the end of the fall semester and shot on high contrast 16 mm filmstock. The animation features a lonely little bubble person perpetually pestered, branded, and eventually exterminated by life in the big city. The inclusion of the animated content was as important to the vision, as that of the billboard sized murals. The addition of a video installation would further my attempt to assimilate popular communication techniques. After all who is going to pay attention if the story is not on T.V.? The creation of animations is generally the final aspect of my artistic process, prior to the actual installation.
INSTALLATION "A DIALOGUE WITH THE CITY"With the addition of the animations, the collection of drawings, murals, and comics was ready for installation by Jan 2002. I had spent some time, and much difficulty, securing an exhibition space for “HEY APATHY! & the APOCALYPSE!” but managed to book a show in the O.C.A.D. Atrium Gallery. The gallery was an enormous space with moveable walls and a four story ceiling surrounded by balconies representing the various departments of study. In hind sight the acquisition of the space was extremely important, as it was probably the largest exhibition space available in the city, and was coincidently demolished a few months after the show.Inspired by the actual Atrium space, I designed a specific floor plan in order to enhance the experience of the installation. A giant U-shape was created with the moveable walls, allowing the audience to enter, become completely submersed in the installation, and then exit at opposite end. A four story hand painted backdrop hung from the top of the atrium, and the entire gallery was decorated in a deep red, further intensifying the entire experience. With the addition of comic magazines, animations, merchandise, and billboard murals, “HEY APATHY!“ had managed to imitate all major streams of mass communication. The full scale presentation of “HEY APATHY! & The APOCALYPSE“, complete with live musical performances, opened at the O.C.A.D. Atrium Gallery in mid Jan. 2002.
The entire collection, created between Jan-2001-Jan 2002, included 13 large scale ink murals, approx. 50 poster sized artworks, 250 small pen drawings, 3 comic strips, a four story skyline backdrop and 3 minutes of experimental animation. By this point I had successfully determined an artistic process and actualized the final aspiration. In each subsequent investigation, I continue to determine a theme, a set of symbols and sub symbols, a specific drawing technique and material process, decide on a duration for the study, then develop artworks gradually increasing in size. This is followed by the creation of comics, merchandise, and animations. Once compiled, precise plans for presentation of the work are drafted and carried forth. An edited, yet portable, version of “HEY APATHY!” was designed and exhibited at the Toronto Outdoor Art Exhibition in Sept. 2002. Although the exhibition space was restricted to 10 x 20 ft., the Outdoor Show presented the opportunity to introduce the artworks to the general public. The showing proved an enormous success, free from the pedestals and pretensions of the art world, I was able to, for the first time, use the drawings to initiate an immediate dialogue with the faceless little bubble people described in the illustrations..
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