Pascal Garcin ‘Mr Garcin’
|SPECIAL GUEST |
(Artist - The Amazing Spider-Man; Captain America; Daredevil: End of Days; Invincible Iron Man; The Mighty Thor)
|Initially, there are two passions, two areas that seem irreconcilable, very close, but mutually exclusive contemporary art with its requirements, constraints and folk art, comics here, talking about manufacturing, drawings to the chain of distribution to the greatest number. |
Art as development or construction, and art as entertainment “pure.” This exclusive, the impossibility of mixing, creating blind spots of both sides: my intention is precisely to present them in a new light. There are of course attempts that have remained famous for attracting one in the sphere of the other, to make the comic a noble material for art, this steadily since the pop art (which would already lead this task) and Lichtenstein to name him. It is the decision of the artist sublime matter: it is at the cost of specificity that pervades the comic art. The movement is the artist to the subject, the art is able to return itself to include it today rejected yesterday. It is possible to look at things in reverse: work material, as its lines of force, its own requirements, its grammar, clear, however, that the industry does not see itself in its ordinary operation.
Starting my collages, I tried to keep what makes the identity of comics: highlight signs rather than deleting them. What exactly is the specificity of these comics, what is substance in them? The appeal lies not only in the scenario in the frame, “The Adventures of ...” But especially in the way the rhythm is given by onomatopoeia, sound effects, which are literally the body in the boxes and push forward, animate characters, create the playback speed and communion with this particular medium. My scissors detach during a process I want to craft, almost awkward, it is a question of extracting the sounds of their ostensible industrious stories, the stripping of their hero, giving voice to the people. Because comics are a popular industry, then liberate the anonymous hidden in the scenes of the great frescoes and superlatives are usually figuration.
It is the bringing together of this great energy howls, screams, hysteria sound ostensible trapped there, and those who are transparency, which only appear within narrow limits. These elements usually coexist without seeing, do not communicate. This is the blind spot of the industry is what eventually cry sound apostrophe in its purity, and this is what, in my opinion, reveals the artistic dimension of the comics that I own tries to highlight and which is worthy to be exposed. With this emergence, a door opens for read intensive cultural consumption for decades, and reformulate the intensity and potential communion.