Pop Has Eaten Itself

On the strength of Bird Dog, I was all poised to strike the record button on my portable cassette player when the disc jockey announced that he'd play some Everly Brothers after the break. Turns out it was a song I hadn't heard before, Cathy's Clown. For years all that was played back was my disappointment.
    One song feeds into another. From old mix tapes, song orders are cemented in young ears. It would jar when it wouldn't follow. It's like when two songs that lead quickly into each other, forming a one-two punch of awesome rocknroll are hacked asunder by some FM radio robot, leaving you hanging. We Will Rock You must be followed by We Are The Champions. There is no need to explain.
    I wonder how some of these songs, forty years old now are still somehow around. I wonder if they have any contemporary analogues. Will there survive some listening structure of format that will accommodate today's songs in forty years ? One hit wonders from 1978 still get 3 million hits on YouTube. Will there be a YouTube to host all of today's songs in the future ? And how many mixtures are there ? Playlist after playlist, burnt CD, the revived cassette, the film soundtrack of curated oldies. So much to sift through.
    There's no way of telling which of today's songs some kid will make a tape of. Like the death of saturday morning cartoons, a focused kids culture exploded into distinct VHS habits changing from family to family. Once all kids were hooked into Bugs Bunny, then some kids demanded Winnie The Pooh to be looped endlessly by desperate parents while others sunk into the sickening appeal of Caillou. A generation torn asunder, unwoven, disentangled. Watching space shuttles blow up in the sky. Sampling can only go so far, what could they do but mash-up ?
    And now we have what once was a years work primed for a conceptual showing in an art gallery along with impenetrable text presented as another anonymous GIF tossed off into the slop trough of our collectivity, shared reactively for the moment and then forgotten.
    That stack of vintage art magazines ? Track down the cover artists. Let's see how they did.

Nomination

I was nominated for a Quebecois comic book prize this year. The gala was held in a posh night spot on the other end of town. I felt it was proper form to attend even though I was exhausted from a long day. Taking the metro there, I thought I'd be late but arrived early enough to grab a seat at my publishers table. I was treated to a pint and sat with friends as the short ceremony begun. My sausage sandwich was too spicy and I didn't win the award. I was only a small bit disappointed and decided it best to walk home. The clear night air did me good and I avoided the busier streets. Montreal in the cool spring evening is gorgeous. The trees are all lush, in sharp contrast to a few short weeks ago when all was barren from a long brutal winter.
    I walked home and thought about working harder. The book that won belongs to a friend and is a marvel of intuitive storytelling. It can easily serve as a reminder for me to loosen up a bit more and follow my nose, not be so high strung and determined to make sense. Freak out a bit more, as it were. I also thought on my walk home that perhaps I overvalue my talent. I am prone to thinking how great I am, easily confusing the thoughts I've had with my actual output. This hit home when I started musing upon a street campaign using a particular local motif. A short block later, there it was, stuck to the street signs, some one else had manifested the idea.
    I tend to daydream a whole heck of a lot more than produce. I manifest but not as much as I imagine I do. Too often I have seen ideas I thought of stare back at me, the work of other hands. I must only look at my actual output and not my potential in weighing my worth as an artist. I still haven't bought the paper I need to begin my next book. A book that will be better than the last one. A book that better be. To be better, the artist must relax into the task, create a work from joy and not perceived audience expectation. I think I can do it.

Reading

Write a word, a phrase. Followed by another and another. I'm not convinced. All I want to do is read. Summer windows wide open, stacks of books beside the couch, in my lap, cool water and fruit in a bowl. Reading theory and history and folklore, science fiction and fact, fantasy and myth, Gorging on it, drowsing as if with too little beer. Luxuriating as if no one will call, for hours, for days.
    Roll me over, call me for supper, pour me a drink again and again, I have notes to take, breaks maybe for coffee and dreamy walks.
    Let the words flow into my sleep, let me start with a nod and try again to polish off the chapter before I lay the text, splayed open, on my chest.
    My yearning pulls me here, to this desire. So simple that if indeed I had days to squander, I'd be a fool and seek diversion elsewhere, forgetting this one true love and seeking distraction in some shiny, moving thing.

Slow Walking Thanks

To walk streets slowly is a gift. Every step intentional, every sidewalk crack another line in a vast sprawling poem that each new walk reveals another stanza of. The houses, the homes, the buildings themselves creak with character. The hockey stick garden posts, the porch furniture sagging, the paint jobs and the rusting banisters, bicycles teamed up like herds, chained to each other. The chalk drawings on walls and in alleys, on sidewalks are all blessings. The children are safe and they can scribble, they can add to and better the ill thought out sprayings of their elders. They can write games, inviting slow walkers to take note, reminding fast walkers to slow down. Where are you rushing off to ? Yoga ? Coffee ? Don't rush to where you can slow down. Slow down all the way there.
    The trees are waking up. The blossoms cascade over lawns. There are book boxes, sharing spaces, places that reaffirm our humanity. There are so many things to give thanks for every step on the long way roundabout  towards home. Gratitude comes with breathe, with slow and careful steps. Thank you.

Random

Trying to write about art with zero references around you is kind of a dumb way to do things. There are so many nuances lost that even memory of beloved pictures falls short and fails. The scholar, I'm sure, has all the right pages marked clearly with post-its, all the right references lined up in a row.
    Huddle and limp, just tell the world you love something, tell the people there is an idea somewhere in your head.
    The things I love in no particular order: King Kong, the original 1933 film, the first Star Wars movies - they're called something else now but fuck that, The Lord Of The Rings books (the movies make me seethe and or kind of entertain me). How, I cannot imagine, can a director decide to make a 12 hour long movie mostly consisting of ring in hand shots, decide to completely remove the arguably most important part of the trilogy - the scouring of the Shire ? Anyway….I love crappy superhero comics of the seventies but not enough to care who is who in regards to artists, letterers, writers. I love paranormal shit, never got into ghost stories too deep but it's not too late. I love fantasy and science fiction, I love the shape of reported ufos, I love monster sightings but not enough to call myself an expert. The internet clearly shows that there are experts for every niche, and many to boot. I'm a luke warm Fortean.
    I love black and white logos, symbols and charms, type and noise, stamps and seals. I love mystery tongues and wizards, robots and villains, heroes and queens. Horses, tigers, dogs and elves. I love plant life and rock life. I love planes and gods, people and things. I'll keep Britannica open to my favourite page, the one I can rip out and scribble on. I love lost and found paper, old books and puzzling lists. I love the shape of lips and legs, clouds and bricks. I love poetry and songs, paintings and objects.
    I forget what I like, I lose lists like I make them. I love fantasy art. I love words. I love stories and myths, fables and tales, lies and jokes, pranks and hoaxes.
    I read and I forget details. I give the books away, I've forgotten which ones I've read. I don't keep score. I keep score. I'm no scholar, I'm a scholar without an index as of yet. Or a bibliography.

Starting Right Now

Do I have the time to show up at the office and churn out a short paragraph about my thoughts and feelings ? Do I have the time to moisturize my face after working outside with sun beating down and pallets of earth moved across alleyways? Do I have the time to worry about Antarctica and the ice sheets and the people and Hydro Quebec and radical skepticism and ill informed rationalism and people who think way too much ? Do I have the time to consider and reconsider and reconsider still my contribution to what seems like a confused and collapsing civilization? Do I have the time to make a comic book and dream of a career in the arts instead of selling everything I have and moving to a small cabin in the countryside?

    Ask me what I would do if I had five years to live and I wouldn't answer 'what I'm doing now' so why am I doing what I'm doing now instead of what I'd do if I had only five years to live ?
    Tell me about it. Tell me about my choices and my decisions and my set backs and cop outs and excuses and fears and paralysis and devil you know. Devil you know will strangle every last breath out of you, five years or no. And by you I mean me.

    Here we are accumulating garbage for the big parade. Accumulating garbage to tuck into the loose corners of our coffins. And coffins ! What an extravagance. We'd be so lucky to get a nice lacquered wooden box to rot in. Some folks never get the option. They sink into the field where they are struck down, maybe thrown into the ravine with the others.

    Sure, go back to school to get a masters degree, join the post docs in line for food and clean water. Wait for the corporate overlords to have their ghost of Christmas past moment, wait for Dick Cheney to shudder at his reflection and take it all back, take it all back, restore the droned children to life, restore the forest to it's majesty, restore the women to their humanity.

    Let's work a tad harder, let's do a little spring cleaning all year round, let's whip it out and get it on, let's high five until the sun rises, let's sort the recycling, reuse the reusables, take out the trash, forgive our shitty neighbours, rejoice with our cousins and see where that takes us.

    This is a moment of missives, this is the time for all times, we've made so many children, let's scrub the sidewalks for them so we don't have to pick glass shards out of their kneecaps. Let's turn off the power so they can breathe. Let's stop with the filth so they can eat some decent food and make their teenage parties something not tinged with ragged desperation born of hopelessness.

    We'll turn around in circles until we straighten out this mess. We'll pull the plug and wear extra sweaters in the winter. We'll collect family members to live with us. We'll turn this boat around, I swear, and plant gardens in every cop car.

    Starting now, starting right exactly now.

Drawing Bunnies

I started drawing bunnies because I was trying to cheer up a friend who had a bad case of the blues. These first bunnies were actually animal shapes with smiley faces in them, hovering around the head. I got a kick out of them myself because up until that point I was mostly drawing erotic fruit, guts and psychedelic bullshit. When I was ten I would proudly draw big nosed cartoon characters. I would practise Daffy Duck as a pre-teen. As I got older, I got more pretentious and it was all gothic eyeballs and stewed intestines.
    In my early twenties, when I drew a funny animal cartoon it was all angst, sweat drops and panicked expressions on the little critters. In hindsight my friend suffering from depression helped turn me around. I let my art be as light as I could be at times. I wasn't a heavy dude but I drew heavy nightmares and visions. The creatures were twisted organic structures bound with straps, existing in a possibly positive space but serving more as gross-out material than anything else. I loved the supple forms of mangos and pears with labial folds and tumescent piping. Fun stuff, alien porn.
    The bunnies, called Glees, trotted in and said, hey bozo, chillax. They pointed their fingers at humanity and mocked us. They mocked me. They turned, like Bugs before them, into tricksters, aligned Chaotic Good with a wicked helping of Chaotic Neutral or just downright Neutral. They took the piss out. Nervy The Dog, a character I created that featured in maybe two stories total, was a stress case freaking out over everything. The bunnies couldn't care less. They were easy going and happy. Happy, gleeful. They were also easy to draw. When I drew human faces, they invariably were streaked with a thousand lines of weariness, shadows and spots - again with the heavy. The bunnies were smooth as the sexy fruit without the naughty bits poking through. Fast and easy, and cheerful.
    I used them in paintings and comics, I had them embroidered, I cut-out tin can collages, I made papier maché bunnies. If I was faced with a new medium I would cut my teeth with a bunny. I knew the design well enough to try it out in any material.
    Of course people thought I had a thing for rabbits. Couldn't give a damn about rabbits. I'm more of a squid or great cat guy. Rabbits and hares are amazing animals of course, like all animals, but I never had a soft spot for them. The very first drawing I did that led to the bunnies actually was a blocky chunk with Mickey Mouse ears. The bunnies I draw today, still called bunnies, look often like mice or dogs or bears or some creature with big ears. My aunt calls the creatures I draw 'bear cubs', she says it in Greek though and I like it. When I first heard her describe them that way a tiny voice almost came up to correct her but it was squashed dead by a greater voice saying, hey that's good.
    I'm not going to start rebranding now, the damned things are bunnies. My wanky side has described them in interviews as not cartoons of rabbits but cartoons of cartoon bunnies. Meta enough for that bong of yours ? In any case the basic bunny form is now a vessel, a vehicle, a platform, a support for any of my scribbling tendencies - unbroken curved lines, sleek and flowing, gestural asemic scratchings, blended gradations, psychedelic auric fade-outs, whatever I want. I can draw a mess of eyeballs and intestines, even some genitalia for god's sake and throw a couple of ears on top and voilà, bunny.
    There were some recent years when I felt like Leonard Nimoy fighting off his Spockhood. I kept the bunnies at a distance, they made cameos in comics but not in any serious art (yes, I know how that sounds, I'm a cartoonist, even a graphic novelist). I am still tired of civilians who think that widely varying cartoon bunnies look like mine, or that they liked that TV show I never worked on. Cartoon bunny taxonomy is vast, and it's pearls before swine if I have so explain the difference between a Garfield and a Heathcliff, let alone Krazy and Bill.
    Last year or so, for a lark and to decorate a new snack bar with lots of toys as decor, I banged out a slew of bunny paintings using cheap dollar store paints and repurposed canvas. It was a blast. I've always been aware of artists who never once stopped presenting their stupid cartoon characters as subjects for painting. I took a detour into douchebag land with all that implies about pride and seriousness. I'm back again, reclaiming my art as, you guessed it, mine. I was never on the career track towards the Tate anyway. I'm not doing coke with a curator unless they are also a friend. And every bit of wisdom I have read regarding art most always states something about following your heart, being true to yourself, doing what you love.
    I love the way these critters stare at me with their huge smiles. I love how they judge me and keep me on my toes. If I'm not careful, they may start breeding like rabbits and take over my life.
   

Accretions, Breakthroughs, Collections

For the last several days I have been going through my various jars of small found pieces, organized by material - wood, plastic, metal. Some jars are mixed, if the piece I am hoping to keep somehow straddles worlds, or if the metal, plastic or wood jar was full. Beads, single earrings, snapped leather strands, glass knob, seashell, toy wheel - such things go into a jar invisibly marked miscellaneous.
    I have many jars, three devoted to colourful plastic parts. The jars started out as charming vintage ones, from pickles or some such, labels and all. These got scarce quickly and mason jars came into the picture. Mason jars are timeless, even the new ones have some old world charm about them. The plastic I keep can be the inner bits of a box of floss, a lost Kinder toy piece, a small doll shoe, a Spirograph wheel, a small tube from some pen, mostly toy details and obscure industrial components. I've always taken things apart, the ritual counterpart of seeing my father actually make things, his collections meant to be used.
    I've kept my old macrame bracelets, the pull strings from long gone hoodies, bathroom chain, rusted washers, dried rubber bands from date stamps, clock parts, half a dried lime, broken keychains. I've kept crap like this all my life. In the last two years or so, as a response to this growing collection of mayhem and the anxiety it can cause, I started on the dubious campaign of organizing it. Jars proved useful in that my collections took on discrete identities and were quite beautiful seen through glass. I even exhibited them in an art show centered around collecting and it's shadow side, hoarding.
    Now, with the jar trick, I was able to identify what it was that I collect. I collect collections. I have numerous ill-defined ones. Once a jar is full, I can more easily decide if that particular collection merits a second jar. Shall I start picking up more bits of shaped wood to fill a second jar or can I cap it at one ? One, it is ! This way, I can nip it in the bud. Sorry alluring bit of wood, you will stay where I first spotted you, in a discarded shoebox full of junk drawer cast offs left on the sidewalk on moving day, beside the fridge contents and the bedbug bureau.
    Since I've taken to organizing my collections, I've become better at leaving things behind. Not only that but I've also taken to using the parts to create something new, which may have been the purpose of starting to collect in the first place. I found, with being overwhelmed with actual real-life tasks and jobs, that I had neglected to book an exhibit for the gallery for a rapidly approaching month. Quickly, and with the support of my trusty girl-friday, I came up with the idea of mounting an exhibit of the accidental clusters that accumulate within certain quarters of the shop. Before I knew it, I pulled out a treasured found collection, one I thought would remain intact forever. It came from a friends basement, the detritus left behind by previous tenants. It came from an old Greek man, It was the bottom half of a two litre carton of milk stuffed with thin straight coloured seven inch lengths of bendable wire, jutting out like a rainbow obsessive nightmare. Pure potentiality. Of course, it was a perfect ready-made, something I was looking forward to counting as part of my art.
    I found myself pulling a length out and twisting it around some odds and ends. I added to it, antique fake leaves, my teenaged jewellery, rusted metal, spools of thread, toy parts, fishing lures. In a flurry one afternoon I cobbled together several of these fetishes, meant to hang on a bent nail from a stark white wall. I was using my junk. I was unabashedly dipping into thirty year old archives of once treasured objects and fashioning something new from them. Better still, I allowed my partner access to this stash so she too could make art from it.
    This might sound like no big deal to those of you who purchase wall units and glass and metal furniture, laminations of movie posters to go over the love seat. But to collectors of small found objects, who struggle with why they do what they do, this is a big deal. I've turned a serious corner. And to boot, I'm making art that I'm seriously excited by, art that waited years if not decades to manifest.

Collecting

I've made peace with the fact that I am a collector. I am eternally grateful that the things I collect have near zero market value. Also, that for the most part, they are small things. I collect paper. I collect scraps of paper. Small printed details, drawings, kids art, water blurred garage sale posters, odd bits of ephemera, poetry leaflets, doubly exposed found photos, 1970s craft magazines, battered vintage books on prehistoric life and outer space. There are many groups and sub groups, many that have no discernible theme except in my eye. I collect minuscule scraps of paper, some half the size of a postage stamp. I get these plasticized like identity cards. I have a hundred of them. I also collect the occasional label drawn on and stuck by street artists. I harvest the ones half hanging loose. I smooth them down flat on a piece of card and write the street and the month and the year I find them.
    I used to collect the odd designs printed on the bottoms of cardboard boxes. When I worked in warehouses I would find some strange logos and motifs. I got to thinking that many of these signs represented nothing more than the cadres of buddies who worked in box factories. I used to collect comics. I can't bother picking them up anymore. Of course if I happen upon some copies of old Boris Karloff Presents or Ka-Zar Lord Of The Hidden Jungle for a buck or two, I'll pick them up, I'm not crazy.
    My rule, loose and sloppy, about collecting is that I am not a completist and that I don't have to collect it. I'm getting good at letting things go. For a year or two i collected wooden spoons. Then one day thrifting I just didn't bother buying some spoons I found. And then the spark fizzled. I tell the story of scouring all the bookstores in my hometown for examples of concrete poetry. I'm adept at pulling avant-garde periodicals from the messy shelves of good will shops. Invariably that white spine belongs to a book published by a small Canadian press in 1973. I can spot them a mile away. The second hand bookshops in Montréal, though, very rarely have what I'm looking for in the poetry department. On a recent visit to Toronto, I checked out a very well curated bookshop and asked my usual question - 'got anything by way of concrete or visual poetry, photocopy art, mail-art, text manipulations, that sort of thing ?' Instead of getting a blank stare or some tepid attempt to sell me Apollinaire, the clerk brought out a huge stack of exactly the material I look for. At that point it became, how much money would I want to spend. I bought a fine volume for thirty dollars and haven't cared much for the stuff since.
    Scarcity or the hunt is key. Milling about flea markets with unlimited funds is not collecting, it's shopping. Most of what I collect is tied to finding. And what I most like to find are things I didn't know I was looking for. Some Hassidic kids homework sheets, a stained flyer, a printed glitch, the dedication page of a mangled old book. What I want resonates with an unknown history. It has texture and life. It doesn't come by the dozen. It's oblique and hints at mystery.
    The stuff I collect fits in file folders, shoe boxes, stacks. It gets sorted through often and rearranged. It gets confused with art. It get's exhibited, shown, flaunted. It may even get sold. One thing for sure, it's not going to weigh down my kid and it's not going to line my coffin.

Oh God, Not This Again

At around fifteen I got serious about deconstructing Christianity. My upbringing related religion more to cultural identity than anything else. My immigrant parents instilled in me the relationship of Hellenism to Eastern Orthodoxy. Icons in the house, church at holidays and an annual communion. Christ was infantalized as Christouli, a smaller, cuddlier Jesus. The Virgin Mary in turn was made diminutive. Bite sized for children with the appropriate down-sizing suffix. In Greek, any word can be made diminutive via suffix, even God.
    Since religion wasn't forced down my throat I was able to indulge my interest in it. I would read the bible, a copy of King James with red letters and a zipper that I thrifted. I collected iconography, enjoying the kitsch value of some and the majesty of others. Of course I read Siddhartha by Herman Hesse and explored a cursory overview of the great world religions. I read on the history of the Christian church, it's borrowing of pagan symbols from older religions. I enjoyed and employed symbolism in my art and in my life. I also viciously criticized the Church as a teenager and young adult.
    By my mid twenties I knew it was too easy of a target and I developed a more nuanced critical approach. I didn't believe in the God of the Old Testament, not being able to really get past Exodus. What a total manipulative jerk that guy was. Who can buy into this stuff ? Of course, the Song Of Songs spells things out a little different, romance and sufic flavouring. And Jesus was always ok. I never have confused the religion with it's followers. People are so incredibly disappointing at times, aren't they ?
    I was intrigued with the mystical branches of the big three, Cabala, Sufism and Gnosticism. I knew more about this stuff than my religion bashing friends. Know your enemy and all that, I say. Though I don't buy into Big Daddy, here are some things that I may buy into. A conscious universe, local gods being consciousness on an elemental, planetary, solar, galactic scale, nature being intelligent as a whole. I forget what this kind of thinking is classed as. I couldn't give two shits about any science saying otherwise. Science measures what can be measured. What can't be measured is the province of wonder. I wonder aloud and I feel it's completely allowed to do so. Besides, science is never the problem with these things. The problem rests squarely with those that have convinced themselves that they can speak for science, though science itself can never and will never rest.
    I'm still astounded by atheists my age who are still grinding axes and who have an elementary understanding of theology and mythology. Tell it to the judge. Echo chambers aren't places to hang out in. I'm more than comfortable entertaining notions such as local deities masquerading as creator gods to enslave populations, hierarchies of angelic intelligences popping by once in a while to see how the monkeys are doing, currents fed by long term focus and prayer creating structures that eventually behave like gods, a cosmos that is just doing what it's going irregardless of my opinions concerning it let alone yours.
    Recently I was asked what I believe spiritually. My first written response was a nightmare of complicated somersaults. I put it aside and returned to the text months later. I started over. I don't know what I consciously believe. There must be belief working behind the scenes, under cover. Things I take for granted, an ideology I harbour that informs my take on things. Consciously though, the closest I can come to belief is entertaining the notion that everything is alive. Now this is crazy talk, of course, simply because 'alive' is offset with 'dead'. Maybe another way of putting it is that I believe that consciousness is the ground of all being. That life is everywhere and in shapes we would hardly recognize. That there are invisible worlds that overlap and intersect our own, worlds that are populated. What this stuff has to do with god per se is still unresolved.
    Now religion ain't nothing if it ain't lived and living. A set of dogmatic rules simply won't cut it for me. A living, active spirituality is one that employs a concerted effort, a practice, ritual movement, constant re-engagement with belief, constant updating of opinion, relational interfacing with the wider world. If one lives a certain way, in keeping with the idea that the cosmos is conscious, one renders the cosmos conscious. And again, it doesn't matter what anyone else says because they may be doing the exact same thing but with their cute set of parameters. My story is mine with truth and falsehood both moot.
    It's not that the jury is out, the jury was never in. We are far flung in vastness, vastness of a scale that is incomprehensibly multi-directional. Big Bigness. Small Smallness. In-Between In-Betweenness.
    This person will wonder, speculate, worship nature, write poetry, fall in love, cry for no reason and mistrust anyone who says emphatically that they know the answer, via lab coats or prayer beads. My god comes in fractal expression, often goes plural and only demands occasional ecstatic union with all of creation. Simple stuff but bound to change.

The My In Myth

In Mister Feher's grade ten math class I experienced something that would forever change my life. It was an otherwise normal day, the teacher regaling us with the enthusiasm he derived from mathematics. We were teenagers with better things on our minds than functions. The teacher himself was a bit on an odd duck. Proper, turtle necked, eye glasses Carl Sagan would wear if that makes sense, Carl Sagan's hair around the facial equivalent of Hush Puppies. Always some kind of wry semi-smile. His signature was signed, on important documents like test deferrals or late notes, via a fine rubber stamp bearing his name in a light cursive. He enunciated clearly.
    I was sitting there, spacing out or trying to understand the topic, one of the two, when I wrote something out in my exercise book. I don't think I still have this Ur document but I have it's near descendants. I wrote four capital letters, block form. A B A C. Not those letters, I'm simply showing the repetition and relative sequence. I wrote this un-word, this geometric arrangement, each letter having no curves or diagonals. Nice vertical or horizontal lines only. X and Y axes. Maybe I was picking something up from the lessons after all.
    Nonetheless, I wrote these four letters down in my book and the world stopped.
    I wrote down this code, this gibberish, this … name. My eyes widened, my breathe suspended for an instant. The world stopped. I was flushed with meaning completely unknown. I was in class, I couldn't exactly turn to my mates and say, "It came to me ! It came ! A magic word ! A secret name !" Nope, couldn't do that. Still can't do that. Not allowed.
    Here I was, some fifteen year old kid and I stumble upon a sequence of letters that opens a door to the mysteries. I took this name home, this cypher. I tried a two letter suffix, an add-on. Nothing. I kept it as is, all caps. I drew a picture and realized it was only good to associate this new name with this new style of drawing. I still added my civilian name. I was not convinced that this ABAC was my name. I still don't think it really is, even though I used it in art and eventually in scads of global correspondence art, signing and yes, rubber stamping, the name on postcards, envelopes, letters, poems, collages and drawings mailed to artists around the world. The stacks of mail I received were addressed to this name. Years later I attempted the awkward process of conflating the two names, my magic one and my real one, transitioning to get my affairs in order and have only one name that represents this artist, the name I go by today, the one my folks gave me.
    I searched for the meaning of this secret name, one half could be construed as Hebrew. But my tetragrammaton wasn't in the angel dictionaries. The stoner junior cabalist I knew wrote out what each letter or it's Hebraic equivalent might mean in gematrical values. Tables of correspondences followed. Elements, animals, minerals. It wasn't Enochian. No entity revealed to John Dee came close enough to sporting this name. It may be as yet unrevealed Atlantean but I've never been able to commit to full time space cadet, I'm still too shy for that kind of thing. What would my cynical friends, some no where near as cynical as I am, say if I cracked out the lavender robes and started channeling entities? I know I shouldn't care but sadly I do. Maybe I'll save this crazy shit for my old age. Hopefully I'll still have my wits about me to take the plunge in earnest.
    Of course I had dreams where I saw the word. One time it was tattooed on the back of a male First Nations person, another time hidden in plain sight amid the text in an antique Shakespearean folio. The internet has given me English and foreign acronyms, it means 'relative' in one language, and describes a carved domestic item in another. All in all, it remains more mine than anything else. That strange elation that came over me in class kept my imagination busy for years. It has, of course, faded into the background of my life but is an essential part of my personal mythology. My origin story. I sometimes think that my capacity to encourage and develop a personal myth is mostly responsible for the good cheer I enjoy. I have given myself meaning, regardless of any objective standard that may exist. No one can call me out on it, no one can whistle bullshit in my direction. These are my sacred things, these are the details that prod me towards wonder. I spin yarn in my own service, I spin yarn into gold and you can keep your baby. I'm still trying to figure out how to spend my earnings, I'll get old and hopefully wise trying. I may end up on the street corner, staff in hand, amethyst headband, beard Darwinian in it's glory, twinkling eyes to those that walk among us but are still afraid to describe themselves as magical.
    It's important to pay attention in math class. To something you feel if not the lessons.

Tiny Lessons In Magic

To make an easy sigil, write out the phrase you would like to focus upon. Strike out any letters that repeat, leaving one of each. You'll find that most letters fit easily into the shape of an H with it's top and bottom closed off, as if superimposed with an F and an L. This blocky figure eight can incorporate A,B,C,D,E,F,G,H,I,J,L,O,P,S,U if you sacrifice curves. Add a few diagonals and you can accommodate K,M,N,R,V,W,Y,Z. T and Q can make an appearance with another straight line well placed.
    This, of course, is for an efficient no nonsense design, the zen of sigils. You are most welcome to stick letter to letter forming a more ornate sign. It all depends what you are after. After completing the design that pleases you or your client the most, discard the original phrase by removing any written trace of it and try to promptly put it from your mind. Now take this abstract design and sit with it, place it on your desk, put it somewhere you can see it. Meditate on it and and and.
    And what ? Well, magic can occur. The so-called essence of the original, now forgotten phrase should be firmly implanted in your less than conscious mind where it can get to work transforming your sorry life. Or not. That's the gamble. This stuff isn't science.
   
    Sit in a dim room and face a blank light coloured wall. Dress comfortably in loose fitting clothes and take a few deep breaths. Raise your hands a foot or so away from your face and look at them. Turn them about, examining your fingers well splayed, gently bent, slowly moving about. Note how the shadows fall about your hands in the semi-darkness. Bring the fingers of each hand in close proximity without letting them touch. Softly move your fingertips to and fro away from each other. Don't try to see anything in particular, simply keep breathing and looking at your hands. Look at the space between your fingers also.
    Eventually, if you are lucky or good at this game, you will see light around your finger tips that cannot be accounted for in that dim room. You'll also see strands of light from finger to finger, pooling as you near them and stretching apart as you distance them. You may also see cascades of shadows cross your palms that do not reflect what actual light may be illuminating the room. If you are particularly graced that fine evening you may be startled to see flames leap from the centres of your palms. Do not panic. Remain calm. Keep breathing. The flames may dance there for a while. Avert your eyes and you may risk letting these visions escape you. Just like a dream upon awakening they will recede into another world and you may chase these flighty apparitions for years to come, maybe reliving them maybe never being able to see them again.
    And what were they ? They were things you saw.
    Were they really there ? Well, where else were they ? Of course they were there. You saw them.
    Does this mean they represent something real ? Walk around the block and think about what 'real' means. When you get home and you are certain what is real and what is not, then you've answered your question.
    If that walk around the block was the only time you've asked yourself that question and the answer satisfied you, you really need to take more walks. Walk every so often, maybe once every year or so and take stock whether your answers are the same. If your answers are always the same, you're most probably wrong.

How I Make Comics

The comics I make tend to be silent. Wordless comics, in theory, are able to be read by an international audience of illiterates. Cartoonists Without Borders. The first ones I made were like the twelve minute guitar solos of obtuse comics. I was making comics I myself wasn't reading, heady conceptual games, lots of obscure symbolism, some heavy handedness. The stuff I read is mostly inane humour comics. I read that stuff over and over. Dumb jokes. And Archie.
    The stuff I make aims at some seriousness. I crave to make thought provoking stories that warrant multiple readings, the ten year olds getting some of it, the illuminati getting some other bits. Every short story I used to make was in a different style, I'd hop around in graphic land experimenting, always experimenting. A few years ago I rediscovered pencil and this led to a larger body of work centred around a couple of consistent characters. It's visually cute and makes up around a hundred pages of material. I'm not sure if I've exhausted this particular world or if it will shape shift into the next permutation. I've always hoped to integrate all my fave motifs and characters into one cohesive cartoon universe but frankly I'm not sure if I have the patience.
    It isn't narrative that tugs at me so much as moments. And moments don't exist until they are actualized on paper spontaneously. This method of working makes for a lot of pre-job anxiety but ultimately proves rewarding. I don't know the beginning, middle or end of a story when I begin it. I simply delve in and somehow narrative accretes around my efforts, my discrete moments intuitively building a story. The anxiety comes into play before I start working. All possible styles and motifs crowd my head, each making a strong case for being the thing that will make a decent comic. Of course, this onslaught of potentialities tends to freeze me in place. No work gets done but endless notes and scribbles, and even these lay in piles and never have much to do with the work that eventually get's done.
    Right now I would like to begin my next graphic novel. I'd like to use words. I am wondering if it should be a continuation of my previous works, the richly pencilled adventures of a young magician and his cat. Also in the running is a new approach made up of little 'billy heads' talking about my life, the pithy version of the writing on this blog. This is liberating because I very much want to integrate text into my comics but am unsure how to. With the talking head approach I can veer off into any visual universe because the little head can set it up nicely. Another approach I am seriously considering is a funny animal strip showcasing my famous bunnies. These big eared tricksters would simply be bandying about ridiculous word play. Again, text. Then of course, there is my desire to explore the merging of abstract comics with textual poetics. The fourth and possibly final solution would be to create a cohesive narrative that employs all these directions. Multiple styles telling one overarching story, a work of undeniable complexity and genius.
    Frozen in place. Stock still. Pencils collecting dust and guts churning anxiously. This sounds all too precious and intentional. My passing glimpses reveal an over wrought attempt at a master work. One makes trouble for oneself if that's the thought going out the gate. Failure or frustration will ensue. So I don't know what this next graphic novel will be until I start it. A branding nightmare. It may look like nothing I've done before, it may end up being too oblique for a publisher to bother with. Procrastination also rears it's familiar head and I end up with jots and plans, confidant statements about pagination and panelling. Maybe a title or vague design thumbnails. I need a format before I start. I need a stack of index cards or pre-cut paper, lots of it, to draw on, to waste until I settle into the groove that emerges.
    So the first step, invariably, is preparing paper I've bought specifically for a new project. And new pencils and erasers. New gear sitting there waiting to be hit on, waiting to reveal via first false starts and then a fury of inspiration, an unfolding paper world.
    Wish me luck.