—from Crag Hill’s introductory essay to The last vispo anthology.
I think it applies well to ordinary comics reading, too.
[Marc Bell] says his M.O. is to deconstruct and make novel use of “comics language” for his drawings, collages and mixed media works. Whether it’s the drawing style, the inclusion of text or use of grid forms, the influence of comics is fundamental and pervasive. “I see comics and drawing as all the same thing, anyway,” Bell says. Yet he insists he’s no Warhol or Lichtenstein: “I’m a cartoonist creating art, not the other way around.”
— From The Art of Compression: Comic Conversations on the Canadian Art website
Parabola di G is described as a semi-autobiographical story told through a unique series of highly detailed pen and ink drawings that collectively make up a book.
“The c-word doesn’t appear anywhere,” the article drily notes in the opening paragraph, the exhibition is “another example of how comics can burst off the page and become an immersive 3D experience”.
I’ve somehow only now stumbled upon Tom Murphy’s writing for the Broken Frontier site (he also did the Here review I linked earlier), but I like his take on comics reporting already:
even if comics remains the art form that dare not speak its name, the exhibition demonstrates how the stylistic possibilities unique to the medium can burst off the page to create a three-dimensional world of its own.
Well, I’m sold. On the exhibition and Murphy’s writing.
via Derik Badman