Tuesday, October 25, 2011

page from EUY, by mIEKAL aND

this is the final page of mIEKAL's EUY, A zaumist biography of Alexei Kruchenykh.

it's the only comicsy page. (pages 8 to 98 contain only one, two or three words, most of them invented zaum words.)

zaum is usually translated to mean transrational language.

originally published through mIEKAL's imprint Xexoxial Editions in 1986. now on-line via Mycelium Project.

Tuesday, October 18, 2011



Wednesday, October 12, 2011

Good Night

Good Night - Unknown 19 my latest comic in this series experimenting with found images from across the internet. With these I am interested in juxtaposing images to form emotive responses. I see these as provoking rather than leading narrative. To see more of these go here.

Sunday, October 9, 2011


digital print by Rosaire Appel

Friday, October 7, 2011


Recent comic of mine. Ball point pen over Indian Ink drips.

Tuesday, October 4, 2011

Cut-out abstract comics by Silvia Inés Gonzalez

Here is an earlier abstract (or nearly abstract) strip by Silvia:

Silvia started making abstract comics after attending a workshop I gave at the University of Illinois, Urbana-Champaign, back in April. See more of her work on her site or on her blog

Saturday, October 1, 2011

Abstract Language #3: Mark Laliberte’s brickbrickbrick.

Mark Laliberte’s brickbrickbrick (Toronto: Bookthug, 2010. ISBN: 978-1-897388-57-0) is a meditation of how the details explain the whole. Studiously expanding how dozens of comic book artists (from Frank Miller to Charles Schultz; from Charles Burns to Martin Vaughn-James) represent bricks, brickbrickbrick revels in the details by looking beyond the dominant narratives of comic books into the ubiquitous cityscapes. brickbrickbrick deftly uses comics to create a metaphor for writing, entreating that readers explore how idiosyncratic writers build their environments one word at a time, brick by brick. Laliberte’s volume is a metaphor for contemporary avant-garde practice as it moves the centre of attention from narrative and its hallmarks (character, dialogue, plot) and, in a form reminiscent of Alain Robbe-Grillet’s nouveau roman, focuses instead on setting. Robbe-Grillet argues in his “A Future for the Novel” (1956) that
[…] words are neither significant nor experimental. They are, quite simply. That, in any case, is the most remarkable thing about them. And suddenly the obviousness of this strikes us with irresistible force. All at once the whole splendid construction collapses; opening our eyes unexpectedly, we have experienced, once too often, the shock of this stubborn reality we were pretending to have mastered. Around us, words are there. Their surfaces are distinct and smooth, intact, neither suspiciously brilliant nor transparent. All our literature has not yet succeeded in eroding their smallest corner, in flattening their slightest curve.

This conflation of words and surfaces is what drives brickbrickbrick and visual poetry as a whole. By focusing on the surfaces in any given frame, Laliberte moves the lens of our reading from the narrative to the smooth, intact (though not particularly brilliant nor transparent) surfaces that are an author’s stylistic quirks. Published in a beautifully designed 3-colour volume, brickbrickbrick is a thoughtfully humourous exploration of how writers struggle with their own linguistic bricks.


Last animation, from this comic.