ZONE.

Interview with Kit Gillson of Zone comics. Friday 29th March 2019. 4pm.

So, if I have read correctly, Zone came about after a comic book symposium held during the 2016 Guernsey Literary Festival. Can you reflect on what your initial thoughts about the project when you first came together as a collective?

Yes, the Guernsey Literary Festival in, yep 2016. As artists we were fed up with not getting anything done alone. THe symposium inspired us to think about doing things differently. Breaking into the UK for all of us as individuals seemed remote so as a group we figured that starting something on island [sic. Guernsey] would suit our energies better.

Now three years on, can you describe what has changed?

Yeah it has changed. We have lost some contributors but those of us that reman have got better at what we do. The first year we were unsure, the second year we were unsustainably over confident and ambitious with our expectations.

Is that why it took over a year to to get the third edition of Zone out?

Kind of. Through the process of making the third one we learned to keep our expectations in check and focus more on the outcome of the edition rather than having an overload of ideas.

At the start, would it be fair to say that as a group you didn’t really have a consistent message or concept for the publication?

All the contributors comics were very different and still are. That’s the beauty of it – variety. We are more used to working together now, that’s the real difference.

Does the variety in concept affect the audience you attract?

Yes and no. Anthologies are harder to sell but we throw a wider ner in that there is likely to be something for the casual reader.

What art styles would you say Zone has?

Well, from traditional European comic style such as bande dessinée to fairly experimental styles. The idea is there is no Zone style.

So the point is you don’t want a unified message?

We want stories, quality and variety.

As a collective are you a closed group?

Not entirely. We are open to committed contributors.

How actively do you search for new people?

Not very! We all keep an eye open but, we met organically so presume the mext will join organically.

Can you describe your group’s representation?

One hundred percent male, age range mid twenties to mid forties, all white. On contributor is from South Africa, one is Dutch. We all live in Guernsey.

How do you think your publication might change with a more diverse representation?

Our publication is not about politics. It’s about crazy stories. People who read our comic are not necessarily standard comic book readers so more variety would help this I guess.

What methods do you use to sell your comics?

Currently just at Zone events.

How do you see the comic moving forward?

With new contributors, we will become stronger as we refine our roles within the collective. We aim to make on going stories within the comics. Which will attract a readership base. People buy the comic for the variety and because it is local. But we hope they will come back for the next edition for the next installment of the stories.

Do you have high hopes for the continuing success of Zone?

We all have our individual hopes for what we are building. I hope the anthology will grow and we can build our own individual pathways from it. So launch our individual projects on.

Can you describe your role in the collective?

Co-founder or board-member, artist and writer.

How would you describe your art style, what does it bring to the collaboration?

I experiment with personal parameters, which are a consistent style throughout the story I tell in each issue, and then change the style in the next issue. I’m not sure if or what I will stick with as I’ve not been doing it all that long. I get bored if I don’t change things up. I definitely bring bold colour to the publication.

What are your main influences as a comic book artist?

Well, Guillermo del Toro and Mike Mignola, Hayao Miyazaki, Albert Uderzo and Didier Conrad of Asterix, and Jean-Pierre Jeunet to name a few.

Which contributors art style do you prefer and why?

I like the techniques of Fimbulwinter as it is made with traditional methods, full size, on paper with brush pen. But I also like Axolotl Had Face Man as it appeals to my sense of humour, the story and the art style.

You are also a film-maker, animator and TV camera operator. Do you think this has an affect on how you draw to tell stories?

I tend to think in camera angles. Some comic book artists use the page as a whole, or blend images together in interesting ways. But I think in camera angles. To say my comics are a storyboard would be underselling, but like a storyboard for a film I guess. Really its is about framing and composition of each panel like it is a different shot. I ask is the angle making the character humorous, or scary, assessing the relationship between the characters is important. So using film language really, in illustration.

How important do you think it is to be multifaceted as a practitioner? Does it help or hinder to be an illustrator and a film-maker, animator and TV camera operator? Would it be easier for you if you were defined by one discipline or specialism?

I find it doesn’t help me focus. I admire people who can do one thing. I try to keep the disciplines separate. There is some crossover as my creativity stretches over all the things I do. But I do think of them as separate. To be honest it’s something I’ve not really thought about. The difference between filmmaking and News camera, from the outside they might look the same, but they are very different.

Links:

https://www.kitgillson.com/ https://www.imdb.com/name/nm9153829/
https://www.linkedin.com/in/kit-gillson-948916a3/v
https://www.youtube.com/channel/UCjkCi-l5ZAv91p6ca7Q_FCQ
https://vimeo.com/323492767
https://vimeo.com/323504818
https://www.facebook.com/ZoneGSY/

Multiplicity.

‘Multiplicity’, a show organised and curated by Alice Nant and Ben Bailey-Davies, 29.03.2019 – 12.04.2019.

This is the GateHouse Gallery. It is a small three roomed space that was turned from a school tuck shop into a gallery five years ago. It normally shows work from local artists and raises money for the private school it is attached to. This is the first time the Further Education College I work at has had the opportunity to hold an exhibition here. The exhibition was designed to show development work of the students of courses from Level 1 to Level 5, without hierarchy, and promote the work we do at the College. In June the Course holds a end of year show for the Level 3 graduating students, since being in the art department (I joined in 2015) I have organised four shows outside the normal end of year event in order to showcase work from different student levels and celebrate all student achievement.

We chose a variety of student work from all levels including all types of art & design production including drawing, printmaking, textiles, video, animation, photography, graphic design, illustration, sculpture, prop making and sketchbook work.

As it is a small gallery we tried to put in a wide variety of work trying to avoid making the space feel overcrowded.

To order the space whilst maintaining a sense of space we hung the work in groups of grids and also tried to to visually join rooms as with the computers on plinths (above), and using images of faces (below). A continuity device to draw viewers through the separate spaces of the gallery.

We also employed window sills for small objects and used the natural light to highlight more delicate items.

There were a few interesting problems to solve. Including finding the best ways to display sketchbooks, a paper dress and a dress as a canvas for a video installation.

The projector for the dress video installation was put on a plinth in the centre of one of the rooms. Initially we thought this might be a problem, with technology blocking access to the work. But because the photography portraits at the back were visible through both the other rooms, the work drew the viewer’s gaze in and above the projector. Being bold with the projector placement worked successfully.

This awkward corner with a fire alarm and light switch was complemented by a block print of a switch plate.

There was an opening evening with a good turnout, media coverage with good reviews and the show was up for two weeks. The success can be measured with College management agreeing to this showcase becoming an annual event.

Reflection.

When I began this journey I wanted to subvert existing forms of visual language, disrupting production based connotations and assumptions. I began to realise that what I was looking for came from need for my visual language to be heard in a suitable framework, in an appropriate space. I have worked in film, fine art and textiles which all come with their own inherent language which is taken into consideration when making and viewing the work. In film I make feminist movies, in painting I make female art and in textiles I use traditionally female techniques to make a point. I do none of these things, but also, I do because I am using media and techniques with a prescribed language. I want to work in a way where my work is work.

Whilst undertaking theoretical research and making practical work I came to the realisation that looking backwards and being frustrated was hindering, and blocking, my creative development. I began to discover practitioners that operate in a fairly ‘new’ environment and are investigating it for its potential and it’s visual language. For instance practitioners like Jenova Chen that strive to use video games for artistic and illustrative purposes, and others that seek to claim a digital space for new creativity, such as Harvey and Samyn and their Realtime Manifesto. I too want to explore this potential and discover and define the visual language.

Therefore, through the process of beginning my MA journey I have discovered that that to look forward, and investigate the new, might allow me to find a way to make work in a language or framework that feels appropriate.

I have enjoyed undertaking initial research and reading about Carl Einstein’s tectonic understanding of Hegel’s dialectics. I can see value in investigating theorists such as Leif Weatherby and his proposal that ternary computing has the capacity to provide a metaphysical space. These investigations will help me frame my understanding of the metaphysical space of the digital and allow me to begin to define a space within this for my work.

Overall I have felt able to write a proposal for the next phase of my MA and can begin to see a way forward to a final outcome. I found writing a proposal at the start of the process almost impossible. I felt I knew what I wanted to set out but it lacked clarity and depth. I now feel able to write a proposal with some clarity and I am confident that the depth and understanding will come with further research.

For instance I am certain of the direction of my practical work for the start of the next phase and know that will lead to further theoretical research and analysis. I also know my theoretical research interests and I am excited to discover how these will affect my practice. I know too, that experimenting with and learning new technologies will enable further progress and I am looking forward to the clarity of work to come.

I love technology.

I have been investigating redundant technologies. In particular drawing interfaces with 8 bit computers. In particular the Commodore 64.

There are two reasons for choosing the C64. The first is that I managed to acquire two working consoles, and the second is that it was the first computer I experienced.

I have discovered that there were a number of interesting interfaces that could be used to draw with a C64.

The Koalapad.

The Koalapad, image found at photodoto.com/do-you-need-a-drawing-tablet/

Before Wacom, the Koalapad was an interface that could be used as a grahpics tablet even though it was designed to be used for accountants and data input. Occasionally there have been Koalapads for sale on Ebay, however, they seem to be sort after and rare as they are reasonably expensive.

The CAD-MASTER LIGHT PEN.

The Cad-master Light Pen is an interface that connects through the controller port of the C64. The pen is then used directly on the monitor screen, which needs to be a tube screen. It works by transmitting and receiving light in the same way the zapper gun did in the Commodore 64 game Duck Hunt. I have bought a Cad-master Light Pen and a copy of the software ready to use with my C64 and an old JVC TV.

Jenova Chen.

Images from artist’s website: jenovachen.info

The art-videogame ‘Journey’ is a stunning, illustrative experience and whilst visiting ‘Videogames: Deign/Play/Disrupt’ at the V&A I learned about the production and art of the game.

Jenova Chen is the art director and concept artist of the indie videogames company ‘thatgamecompany’. He, and his company, are award winning practitioners that have produced the art-games Flow, Flower and Journey. he is also the co-founder of Anapura Ineractive which encourages and support emerging creatives.

Chen describes game content as “The soul of a video game”, and has produced research papers on the concept of ‘Flow’ in games.

A concept that I admire with the game Journey is that it is a multi-player game which allows you to interact with other players over the Internet. However, players cannot talk to each other or touch. They can interact through movement and sound. Creating an uplifting interaction.

There is a philosophy behind his work, he states “I started to realize there is an emotion missing in the modern society, and of course missing in the online console games. It is the feeling of not knowing, a sense of wonder, a sense of awe, at the fact that you don’t understand, at the fact that you are so small and you are not empowered”.(1) Therefore he aims to create games as a space, or an environment, for spirituality and connection. He has said that audiences for film can find romance, sensuality, spirituality and humanity, however in videogames it is difficult to find anything other than violence and the need to win at all costs. I not only appreciate his art style, but also his philosophy.

References:

  1. Ohannessian, K., (2012) ‘Game designers Jenova Chen on the art behind his “Journey”‘. Fast Company. Accessed via www.fastcompany.com/1680062/game-designer-jenova-chen-on-the-art-behind-his-journey
Image from ‘Journey’ jenovachen.info
Image from ‘Journey’ jenovachen.info
Image from ‘Journey’ jenovachen.info
Image from ‘Journey’ jenovachen.info