A very raw, self-knowingly OTT reaction to the general election results last week. I wanted to evoke the feeling of a 1970’s Italian horror film. Lots of abstract, jarring juxtapositions of surreal imagery. An Argento movie set in Buckingham Palace while Cameron met the Queen. It was fun, and weirdly cathartic to draw ram’s heads and crows.
On a more positive note, on the weekend after the results, I started to think about all the artists I know who were feeling angry or despairing at the prospect of another five years of a Tory government – and how there were probably loads of campaigns and protest groups gearing up soon, who would need artwork… So I set up a mailing list for artists to sign up to – so that when that art is needed, I could send out a newsletter to all the artists who were interested in getting involved and helping out. It feels good to put that energy into doing something positive and I’m excited to see what this group can do! If you’d like to sign up, click here.
This was in response to the Robert Downey Jr walkout but seems to be a common trend of KGM asking famous people ridiculously private or tediously controversial questions while they’re contractually promoting movies (see: violence in cinema with Quentin Tarantino, wherein Tarantino is an arrogant douche about it but has a point about that tired question popping up again). I can understand there must be a frustration with having to do these 5-10 minute puff pieces promoting a movie with fairly mundane questions but I can’t help but think Guru-Murphy’s questions are at best, ill-timed, and at worst, opportunistic. Surely, if you don’t want to be part of a PR tour for a blockbuster movie, you just turn the interview down rather than try and hijack it to interview an actor about their past? It can’t be a surprise when someone who is contractually obligated to answer questions in a hotel all day doesn’t react well to their past as an addict being brought up.
I was sat watching the opposition debates, having the usual soul-draining feelings every time Farage opened his mouth to speak, when this idea popped into my head. Whatever the issue, whatever the topic – Farage never fails to crowbar in some immigration talk – to the point at which the word lost all meaning and I was convinced this Immigration person just really hurt Farage once. Broke his heart. And he can’t let it go.
It’s a kinder, sillier, interpretation of his beliefs than he deserves but for my own sanity and well-being, I have to try not to take this man seriously or I become depressed.
After I pitched this idea, I saw the brilliant Babak Ganjei share a couple of Young Farage comics on Facebook which come from a similar place but are very different in execution. He’s much funnier than me. Check them out here. I was terrified it would look like I stole his idea when I saw his posts, but I think we both came at the same idea in very different ways.
BAM BAM BU-BUH BAM BAM BU-BUH BAM BAM. Game of Thrones is back! The idea of juxtaposing the grim violence and backstabbing of GoT with the meaningless soundbites and petty squabbles of the UK election campaigns was just too tempting. It’s weeks like this that I wish I had a bit more room to really dig in and enjoy drawing all characters but I’m still pretty pleased with my Tyrion, Sansa and Jon Snow.
I know campaigning has only just officially started but it really doesn’t feel like it.
I really liked the idea of doing a cartoon version of Monet’s Haystacks with time passing as the hotel ponders the overuse of the word “gate”. I had fun playing with the colours and trying to make the shadows work.
This was for the Easter double issue of the New Statesman (buy a physical copy here) so there won’t be a comic next week.
The absurd idea that Clarkson is a frustrated liberal trapped in a bigoted world of his own making made me smile. It’s completely improbable. But I wonder if there’s an element of truth to it in that he knows exactly what he’s doing when it comes to courting controversy.
When the fourth plinth sculpture by Hans Haacke was unveiled, Johnson managed to get in a not-so-subtle dig at George Osborne while also wilfully misinterpreting the clear anti-austerity conceit of the piece – all of which you can read about here. As always, he did this using a bit of his patented verbal pomposity. It made me think about how he’d manage to completely overlook the political spirit of other works of art.
Wasn’t overly successful with Johnson’s likeness here – some panels work better than others. I struggled to consistently capture him. I think this was largely down to applying half-measures to the simplicity of the drawing – I should have committed to a much simpler design. Next time!
A pretty light joke I wanted to draw after seeing the dead-eyed stare of a BBC news anchor after he had to talk about white/gold/blue/black dresses. He could barely contain his disdain. I enjoyed trying to find the space to slow the pace of the comic for added pathos.