Previous pages 1-4
Next pages – 8-9
These particular pages here were a little headache for me … all set the tone of the purpose of the narrator, translating this section into something that worked for comics without making it too text heavy (which would make it very different to the opening sequence which is much more emotive) was actually quite a trick. My solution was to create a very contemplative space with very little action, focused moments detailing Craig’s indecision, lack of understanding of how this concept might be applied, how it could be understood … what the hell is it. It’s quite wordy, but I figure, in the end that the entire concept behind this comic is kind of vague and tricky to grapple with anyway, so this kind of introduction needs to be there, despite the fact that it remains a little vague and tricky for both the narrator and the reader all the way to the end.
In January 2011 this piece was exhibited at Araluen Arts Precinct as part of a group exhibition called Watching This Place. The exhibition was put on by Watch This Space (how confusing) artist run initiative. Dan Murphy, artist extraordinaire, also had dog sculptures around this piece when it was exhibited. This is the piece hanging on Craig’s front fence.
The top part of this image has the working drawings of my comic adaptation of The Long Weekend in Alice Springs.
The bottom half has the printed essay of Craig’s – the original work of The Long Weekend with an inserted map of the Middle-East in there for good measure. Craig assembled this piece and made numerous paintings around the drawings and the printed writing.
This is a sketch based on a photo in the Alice Springs News (a small local paper) which had the weekend’s football pics in it. There was some bloody hero from Hermannsburg who seemed to get all these absolutely fantastic action pics with him pulling some amazing feat of desperation reminiscent of Mitch Robinson of Carlton … except more graceful looking – that’s him in the air.
Poster illustration by Josh.
I based the drawings in this illustration on many of Norman Lindsay’s drawings and etchings. He was a powerful influence on me as a teenager (as a child through the Magic Pudding as well). I loved his angels and demons, the nude figures with gestural gestures (my newly coined phrase). The other aspect of this illustration was the images of hell that I enjoyed looking at in Volume one of the Sandman series, Dali’s drawings to accompany Dante’s L’Inferno, that I was lucky to see a few years back and lots of other more pop-cultural referencing stuff like Hellboy or stuff like that.
Hereby begins the comic that has taken years of my life.
I might write out some bits and bobs about stuff as I put the pages up here slowly for your reading pleasure.
Please click on the pictures for an enlarged image (hopefully that works).