Forthcoming, in the “comics-not-comics” genre.
main panel is 6ft x 9ft
wallcircle is 4ft in diameter
wood, hand-dyed silk, metal threads, dye, electrical tape, masking tape, mylar, paper, carbon paper, white-out tape
The systems of communication that we rely on to navigate our place in the world are inherently flawed. I draw on references and modes of communication both past and present and aim to highlight the failures of these systems through appropriation and misuse of their intended purpose to guide us. Newspapers, books, maps, HTML code, spoken words and other modalities are undermined by their inability to perfectly transmit information. All of them rely on their materiality to facilitate communication that is still subject to misinterpretation and misdirection by recipients.
We have a deep-seated desire to know, learn, and consume in order to better understand and situate ourselves in the world, however we can never consume everything available to us. In a society that constantly generates new knowledge via the web, libraries of books, and museums of natural history and art, we are drowning in a constant expansion of archives, data, and technology. This expansion and our limited ability to fully immerse and absorb it all, in a moment, a year, or a lifetime leaves us lost at sea, unable to find our bearings. Motivated by this loss of place and time, my work strives to recontextualize this struggle through a poetic exploration of materiality and dislocation. Operating from the fundamental principle that poetics is process, my works utilize mutability, translucency, labor associated with textiles and writing, erasures, and illegible markmaking that illuminate and obscure the internal processing of loss and grief. Rooted in analog translations of digital interfaces, silk becomes screen, mylar becomes window, dye becomes loss, and marks become negations. Delicate, impractical materials elicit ephemerality, and become an illegible web of liminal communication, erasing the places we think we know, bookmarking what isn’t there, and rewriting questions about what could or will ever be in our consciousness. We wander.
tl:dr Communication is hard, I point this out.
Wish I could see this in person.
A line from a song came to my mind recently:
"sing a little song // they sang neat words that i forgot"
(though I always thought “neat” was “me”)
I couldn’t think of any of the rest of the song or the band or really any context at all.
Today one of my colleagues at work posted to our intranet about moving to NYC, and I immediately thought of Cub’s New York City (look it up, They Might Be Giants covered it, lots of people seem to know that version). Ended up looking up that song and then other songs by Cub and, lo and behold, on a record I probably haven’t listened to in 15 years, I found the above lines in the song “Pretty Pictures” on Cub’s Betti-Cola album.
Comics connection: the cover has Cub drawn like Josie and the Pussycats and was drawn by Dan DeCarlo (!).
So I’ve heard about awards and social stuff, but… what were the good *comics* at SPX? Like… what should I look up and maybe order online (remember, though, I hate most comics) ?
At the Frémok table a voice behind me asked, “This is weird, but can I take a picture of your longbox?”
I’m excited to see how my name is spelled (or maybe just no name?) in the dedicace (where does the accent go?). Was sad to miss SPX this year, but it overlapped with my vacation at the beach which is basically the only real vacation I’ve taken in more than a year. I wasn’t ready to drive straight from beach to Bethesda. I’m sure Andrew missed hearing me complain about how crappy all the comics were… I mean “me being a critic.”
NEW COMIC OUT NOW
£3 + p&p from olivereast.com
24 pages, black and white. Cover stock 160gm recycled. Inner stock 120gm recycled.
Printed at MARC
ALYSSA BERG - comics
When I make painted comics I get the best of two worlds: I use devices like panels and text to tell a story/manipulate the viewer through a narrative while also experimenting with materials and painting as a medium.
Single-page with a four-panel grid is my format of choice.
The single page acts like a painting (something the eye can devour all at once) and a short story (with a minimal amount of information provided, the reader has to fill in gaps and take leaps).
The four-panel grid is my go-to grid. It has a time signature like pop music and lends itself to romance.
DOUBLE NICKELS FOREVER
Pre-order starts next week - $9.95 + $2.00 shipping
A drawn tribute to the Minutemen’s Double Nickels on the Dime album. 58 artists drew the 45 songs on the double LP - 182 pages of drawn econo. Featuring work from:
David Espinosa Alvarez
B. Erin Cole
Geoffrey D. Wessel
Sarah Boyts Yoder
Foreward by Marc Weidenbaum
I don’t remember what I did for this but I’m sure it’s non narrative and uses photos.
1. A Waterfall Among Rocks
2. A Single Figure
3. Amateur Theatricals
4. Red Sails at Chioggia
5. The Grand Staircase, from the West
6. An Interior: Petworth Church
7. Profile of a Man with a Bulbous Nose
8. Seated Figures
9. Dover: The Pier, with a Ship at Sea in a Storm
10. Studies of Rustic Groups: Women Gossiping; a Man Driving Two Cows; Boats; a Man with Carts and Horses
Thanks, and if you read the comic I hope you like it. There are a few print copies of #1 and plenty of #2 left for sale. Or you can buy PDFs via Gumroad, or buy one of my other comics. You should not feel bad if you do not do any of these things. Bye.
A propos song.
roy lichtenstein from oriental landscape series
Saw one from this series in DC at the National Gallery, it was huge and awesome.