I asked her to be more careful but she hollered something about her ‘proud heritage’ and tossed an SUV at me.
In “American Kaiju”, an armed lass is caught gleefully destroying a suburban neighborhood, like a rootin’-tootin’ Godzilla. That expression of hers; she knows that we’re watching. It appears that she is more concerned with our reaction than the tiny people below. Whatsupwit dat?
I’ll admit that I’m pretty jaded about the US and some unflattering manifestations of American culture have crept into my art…or, in her case, come crashing in. I asked her to be more careful but she hollered something about her ‘proud heritage’ and tossed an SUV at me.
As with Godzilla, I kinda have a crush on her (what the hell is wrong with me)…
She has a real folksy charm. A real meat n’ potatoes gal.
In “Team Dirtbag”, there’s a rogue’s gallery of baddies crossing a polluted river. in the group, there’s a witch/warlock, a tiny zen master mason, an untrustworthy-looking muppet-like creature, a warrior orc/goblin, a smirking business man, and more. Where is this parade of unscrupulous characters headed?
I imagined this group on their way to a cheap buffet, someplace that’s got trays of mac & cheese and fried chicken under heat lamps. Plastic water cups and vinyl upholstered booths. Somewhere they don’t get the stink-eye because everybody in the place looks like they might rob a bank or build a Frankenstein.
Was a work like this fully planned out before you committed pencil to paper? If so, how much?
I usually approach a drawing with a fairly fleshed out mental image, then spend hours n’ hours sketching and fine tuning each component in the composition. By the time I start building a ‘final draft’ I have a pile of scruffy, coffee stained doodles to reflect on.
Do the characters have elaborate back stories (feel free to lie to us, we probably don’t deserve to know)?
I imagine backstories for most of the characters that appear in my work but am always reluctant to share them. I want to leave room for folks to form their own narratives/connections/opinions!
In “Third Shift at the Gibbet” the too-clean science technician-types have caged a monstrous looking beast. Is he/she/it reaching out to the workers humanity as a plea for freedom? Or, is it for that smart tablet, so he/she/it can see how many likes a certain post received on “the Gram”?
My favorite thing about this drawing is the ambiguity! It seems like a lousy situation for all concerned but there’s a lot of narrative left to your imagination… and I think that’s really fun.
