DRAWINGS COMICS & ART 2001
ARTIST'S STATEMENT“HEY APATHY! & THE APOCALPYSE!” ink drawings 2001-2002Introducing HEY APATHY! Drawings Comics and Art!From a distance the city reveals itself as a giant gear, propelled by an endless sea of faceless people. The buildings stand like graves above the unidentifiable hordes, illuminating conformity and perpetuating despair. The overwhelming nature of the experience grips our being, casting forth horrific premonitions of a post apocalyptic fate. Surrounded by tiny boxes and tiny commuters, the gear persists, and we are propelled to ask the questions “WHO ARE ALL THESE PEOPLE?”,” WHAT IS THE CITY?” and ultimately “WHERE DO I FIT IN?”. “HEY APATHY” attempts to answer these inquires, delving into post-human affairs and the unforgiving metropolis, yet simultaneously offering an optimistic warning towards our future. The artworks explore a unique combination of philosophical, social and autobiographical inspirations, a regimented technical methodology, and a particular means of presentation , in order to express an alternate experience, provoke dialogue and pursue edification. The validity of these goals will be examined through an analysis of my artist’s parables, life experiences, and technical processes throughout the development of the drawings.
PARABLES“HEY APATHY”
The questions of identity, mechanics, and purpose, are constantly tackled in both the introspective and expressive actions of each individual. Despite our uniquely similar preoccupations, an overall tendency to disregard the lives of others resonates in all streams of communication. The city becomes a lifeless embodiment and the lost thinker envisions oneself as another cog in the machine. The story of a symbolic “City of Gears” fuelled by innumerable faceless bubble-people, expressed in the “HEY APATHY!” artworks, attempts to interpret such feelings of alienation and conformity. The viewer is presented with a full scale illusionary and repetitious landscape engulfed by anonymous masses. These meticulously crafted images discuss the embodiment of the crowd, and the sensation of alienation, one experiences upon first entering he big city.
“THE APOCALYPSE”
This state of being, lost amidst the anonymity and trapped in consumerist apathy, has led to much speculation as to the possible effects of our lifestyle. Concerns about the environment, war, and health are predominant, although often exploited , throughout popular culture. The “HEY APATHY!“ drawings, of tomb towers and eternally apathetic denizens, are accompanied by apocalyptic premonitions. Sporadic ink marks depict nuclear blast type forces splitting the buildings and annihilating the crowds . The “APOCALYPSE” artworks warn against an unsustainable future and plead with the viewer for change.
“THE BUBBLE PEOPLE”
Despite the difficulties of the themes and depictions, a certain encouragement and humour is unconsciously apparent among the playful cartoon-like pen strokes. In many instances lone bubble people can be spotted floating or falling through a sky of curly-Q clouds. These characters initiate a singular relationship with the audience, a reminder that each of us is a part of this crowd. The result being that the dehumanizing effects of the drawings are complimented by a contradictory sense of liberation from one’s self. The realisation of this inclusion results in what can only be described as a stern, yet optimistic, warning.
AUTUER THOERYTo further understand the my obligation to discuss details of alienation and conformity , one must examine my biographical situation and academic influences at the time. In 2001, I was living in my parents suburban home on the far east end of Toronto. Having recently decided to pursue a career drawing comics, I enrolled at the Ontario College of Art & Design and was completing my second year of studies at the institute. An entire universe of information had been delivered, not only by my mentors, but the experience of the city itself. Who were all these people? What do they do? What is the city? The metropolis presented an insurmountable number of new ideas, social activities, and art forms. However, the experience proved as alienating as it was stimulating.
INTRODUCTIONS TO THE BIG CITY
Despite the wealth of knowledge and opportunities offered by the big city, I found it very difficult to socialize and became frustrated with the general state of apathy and neglect towards the abundance of resources. For example, the addition of a major hamburger franchise to a food court, previously dominated by family-run businesses, and well known for it’s ethnically diverse menu, was exemplified by the visibly excessive line ups in front of the golden arches. Another perplexing instance involved the incredible library of books, films and music presented by the city. Much to my amazement, I discovered that I could attend an evening lecture by both Margaret Atwood and David Cronenberg at the University of Toronto. On my way home from the event, which I had been late for but easily found seats, an intriguing carnival gathering was intensifying on a street corner. People were cheering, chanting and pushing about. Police officer’s had officially closed the intersection, which was already well beyond pedestrian capacity and continually expanding. Moving in for a closer look, I observed that the festival was in celebration of two teenage pop-stars pretending to sing a song compiled of unimaginably pornographic innuendos . The absurdity of the situation climaxed as I got close enough to the “singers” to differentiate the pathetic off-key yelps coming from the model’s throats, from the computer generated sounds that passed as their talent through the amplifiers. Although the city offered new experiences, books , films, and artworks that had either never made it to, or were censored before entering, the suburbs, for some reason these wonders were being ignored, and the popular culture predominate in the sheltered boxes, flourished in the city as well.
ART SCHOOLThese apathetically induced frustrations were further attributed to the predominance an alien philosophy at the Art College. Having entered the collegiate with the absurd notion that drawings were intended as a means of communication through innovation, with the ultimate goal of inciting social awareness, or at the very least enriching lives, I quickly learned that this was not always the case. The College think-tank tended to define “art” as an expensive, elitist, intellectual , novelty , while students frequently proclaimed “ I am so and so, and I am here to become a Celebrity” at the inevitable first-day-of-class introductions. Do not misunderstand the description here, I am fully aware that art has the ability to affect lives on a mass scale, however I’ve always believed success to be the possible result of any experiment, not the experiment itself.
THE ART WORLDIn my studies of the Art world outside of the college, a distaste grew as an increasingly exasperating trend presented itself in which artist’s statements, devoid of any intellectual content or story-telling, consisted entirely of lists comprised of famous collector’s names, impressive price tags, magazine spreads, gallery titles, and commercial successes. Apparently, the names of people and organisations who promote the work, were more impressive than the ideas or innovations being presented. The entire situation was deemed absurd and inconsequential and I decided that in order to make artworks of true value, an investigation into the activities, motives, and lives of others was fundamental. At this time I titled the theory “The Interview” and wrote of conducting a subliminal question & answer session with the city. This overall sense of despair, and an exhuming desire to provoke discussion (that wasn‘t about sports or self promotion), lead to the black & white interpretations of the city described in the “HEY APATHY! & THE APOCALYPSE” artworks.
INFLUENCES & INSPIRATIONSAlthough consumerist apathy and the fashion of “art” proved discouraging, I persisted in exploring the richness of the city’s knowledge. Hidden among the O.C.A.D. “fame-seekers” and pretentious façades, were a handful of like minded instructors. These instructors, although very particular in their own practices, all shared a common social concern. Each of these artists had found a way to develop a positive language, capable of inciting discussion, and potentially change. Through these professors I found validation of my practice and was introduced to many of the essays, films, artists, and techniques which continue to influence “HEY APATHY!” artworks to this day.
ACADEMIC STUDIESMy academic studies (which were by far preferred and much more educational than the drawing classes) prior to creating the series, primarily under the incomparable instruction of Archie Graham, included (but were not limited to) research into existentialism, and the ethics of advertising. During these studies I took a particular interest in the writings of Soren Kierkegaarde, Bertrand Russell, and John Paul Sartre. What I found most appealing about these authors and artists was that not only were their subjects and themes cohesive with my own philosophical frustrations, but many of the artworks had a certain flare for story telling, accessible and likened to movies or comics. John Paul Sartre’s “The Wall” comes to mind as a personal favourite.(Yes it is cool when things explode but only if there is a reason for it.)
FILMSAs well as the incredible essays and stories, I also discovered the films of Alexjandro Jodorowsky while studying at the college. The Jodorowsky visual extravaganza “The Holy Mountain” proved intensely inspirational. The film examines a a sequence of hallucinogenic vignettes regarding love, life, war, and money, strung together in the form of a spiritual quest. Jodorowsky’s ability to recreate universes, envelop the audience, and eventually send them back to the real world, became a major influence and aspiration in the development of my ink drawings. The magnificent set designs, and overall experience of “the Holy Mountain” provoked to the notion of creating environmental drawing installations, with which entire gallery spaces, and consequential reality, could be transformed.
MUSICAs well as drawing thought from essays and films, much inspiration derives from the ritual of listening to music as I work. During each artistic investigation , I seem to find new interests in a never ending exploration of rhythm, sound, and meaning. With each subsequent discovery, a distinct co-relation between the level intricacy in the musical compositions, to the social concerns and intellectual discourse of the artists persists. Not only have the stories and lives of the musicians influenced the “HEY APATHY!” ideologies, but the practice of working to music itself, would eventually play a large part in the live painting performance installations. Like all of my subsequent drawings, the “HEY APATHY! & THE APOCALYPSE” 2001 drawings, comics and artworks were deeply affected by the private score enjoyed in my studio at the time.
The initial decision to develop a series of socially satirical artworks, as opposed to psychological horror comics, was inspired by an old worn out copy of a BEATLES anthology. The collection of songs documented the group’s development from pop stars to activists. Inspired by the stories, and progressive direction of these folk singers, I abandoned the personal chaos of the horror genre, and turned my attention towards the city, people and real life. If I was going to tell stories, practice comics, I would have to create something of social significance, something that could have a positive effect on the world. The night I found the tape, I proceeded to compile the initial crayon sketches which would become “HEY APATHY!”. The simultaneous sequel to “HEY APATHY!”, entitled “THE APOCALYPSE”, was also conceived on an over night drawing session to music. This time it was the story of metropolis decay, expressed in the songs of “God Speed You Black Emperor”,a group I unearthed in a downtown record shop, that compelled fecundity. The dark, yet uplifting, experimental music shares the tale of a future in which the flags, buildings, and lifestyles, we are all so accustomed to, fall. Deeply moved by the instrumentation, and exhausted from a long days drawing, I attempted to lay one quick image down before rest, “THE APOCALYPSE”.
DRAWINGS COMICS AND ART 2002 ARTIST STATEMENTS page 2
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