April 3rd, 2016
Back in February, I appeared on a panel at the London Graphic Novel Network’s S.M.A.S.H. event. There were a lot of great speakers at those events (including our own Maid of Nails, friend of the website Kieron Gillen, America’s next top comics critic J.A. Micheline, Mazin off the Kraken podcast, and Jam Trap poet Chrissy Williams), staggered across three panels focusing on MEANING, ART and REPRESENTATION in comics.
The plan was to write series of posts inspired by these talks, but then this happened.
Trying to appear big and clever on the internet has never felt less important to me than it did in the aftermath.
Anyway, I spoke on the art panel at S.M.A.S.H. and as a comics critic in the company of artists/editors, I figured I would be the least qualified person to talk about the subject so I did what I always do: I overcompensated. Only Mister Attack will ever see the first draft of my introductory talk, the charmingly titled “COMICS ARTISTS ARE WASTING THEIR LIVES”. In the end, I settled for a slightly less arsey approach that focused on different modes of reading, and how we might want to develop our understanding of our own biases so we can better make them fight to prove which opinions are best.
You can listen to what I actually said and the subsequent panel debate here (headphones recommended, audio’s a but quiet!), read the version of this pitch I submitted here, or if you fancy getting the right mix of depth and brevity you can now read the text I brought with me on the day below.
None of these versions are quite the same. None of them quite get across what I thought I was trying to say. I wouldn’t have it any other way.
June 18th, 2015
March 8th, 2014
A video triptych by Finnish artist Salla Tykkä, The Palace comprises of three short films – Victoria, Airs Above the Ground, and Giant – that de-naturalise their subjects in a series of increasingly overwhelming ways. The contrasts upon which these pieces have been built risk obviousness, but if the slow, immersive quality of Tykkä’s visuals doesn’t quite break down this objection on its own, the steady accumulation and alteration of meaning that accrues through the progression from subject to subject ensures that this is not merely a prolonged statement of the obvious.
An Amazonian plant transported to England and named in honour a British monarch, the Victoria lily is for Tykkä a symbol of the spoiler of colonialism and Empire. Despite textual cues to this extent, Victoria is the most traditionally beautiful of the pieces in The Palace. Perhaps this is intentional – it is, after all, the entrance to this piece.
For the duration of this video, we watch the lily writhe through a time-lapse ballet of its life cycle, all to the strains of suitably “stirring” classical music. Does the ghostly choreography of the lily’s movements, its abundant grace emphasised by the editing, cause us to question the sequence of events that has brought this beauty to our attention? Perhaps, but as the lily’s colour shifts from white to pink its status as a “natural” spectacle is also subtly reinforced by the piece, the viewer reassured that they are watching something do what it was always meant to do.