Gridlords — Home@11 hours ago
#Gridlords #Marsuplala #Theo Ellsworth #Julia Gfrörer #Patrick Keck #Sean Christensen #Cameron Hawkey #Nusha Ashjaee #Kinoko #Graham Kahler #Maryanna Hoggett #Suzette Smith #Rebecca Artemisa
The first of a series written for Gridlords
Paper usually comes in a square or a rectangle, just like the television or computer screen, and before it, the theatrical stage, the painting, the religious altar. Every day in comics, and for those of us who do illustration-based work, we step up to deal with the limits and opportunities of this repeating shape, either using it to our advantage to tell our stories, carving it up into more similarly devised units (“panels”) or squeezing every thought muscle at our disposal to subvert its form into something different. Because our genre has an historic and artistic relationship with cinema, we can also appreciate the stage, and more and more, we read our work out loud in front of our friends and at events, bringing out elements that are made more interesting with a live audience close at hand. Even when a story is simple, the performative aspects of reading our comics aloud give us a bit of excitement that solitarily reading the same thing cannot provide. The results have been, in some cases, quite spectacular.
In my drawing and visual narratives, one point of inspiration that I keep returning to is work that features some element of a live stage or a theatrical setting, or any totally wild way of telling a story across all fronts, sometimes using more than one type of media at the same time. I’m constantly on the lookout for this in what I view, read, listen to, and go out and see, and I was recently re-visiting two films that use as their stylistic focus the limitations of a staged setting itself. Just like the limits of the page, these two examples take advantage of the technical limitations of soundstage shooting, driving their narratives into a minimalist and experimental direction. What we do with the limits of the shapes in front of us can offer unique insights and tools of storytelling, and can deepen our awareness of space and perspective. Accessing interesting virtual camera angles, repeating images, and abstract sequences from our imaginations are all a part of developing a story and our own unique styles, just as filmmakers and performers for the stage do. These two examples do something special; adapting the technical and production side to bring out unusual artistic expressions of story itself, they both portray newer, innovative levels of character.
‘I, THE WORST OF ALL / YO, LA PEOR DE TODAS’ (1990) is a gloriously minimalist film, shot on a soundstage in Buenos Aires by the Argentinian director Maria Luisa Bemberg. Set in a convent spanning the closing years of the 17th century, it tells the story of Latin America’s most celebrated early scholar, poet, and its first feminist, Sor (sister) Juana Inez De La Cruz. Eventually caught between the Catholic Church and the colonial hegemony of the Spanish government, we endure an ending that is nothing short of a scene right out of a horror movie. But the trip there takes us inside solitude and abstraction, into the space of a woman’s existence where focused and careful thinking leads to beautiful literature and unprecedented intellectual explorations.
Writing and studying in her convent library, at the time the largest library in the New World.
@3 weeks ago with 3 notes