Today, for the first time, we have as a guest for an interview a cartoonist who is not linked to the music that represents this blog, however, his art is a different proposal where the quality and personal style of the illustrator can be seen. As an anecdotal fact, Oliver answers the interview in his own way, thus breaking the schemes that everyone had been carrying out until now.
1- First of all, I want to thank you for sharing your illustrations on the 10charruas10crestas blog, and for taking time to answer this interview. So to begin, why don't you tell us your name, where are you from and where are you going?
It's a pleasure to share my drawings with you and thank you for asking.
My name is Oliver Neumann . I was born in Germany and I moved to Israel a very long time ago. I live in Jerusalem. A place charged with religious hysteria, historical drama and political conflict that projects to people from quieter places , say central Europe- a very romantic aura of "real" existential drama. I mean despite the apocalyptic babble of the average middle class liberal in Germany about racism and the ecological disasters and the end of democracy awaiting us, ( which all might very well be true) I do suspect them of looking at those problems rather as a form of entertainment . And of course I am narcissistic enough to play up the drama for my European friends to make myself more interesting when in truth I am a timid person who does not search out dramatic situations to assert myself heroically.
I studied fine art in Tel Aviv in the 1990's. There was one wonderful artist, teacher and person : Gary Goldstein with whom I managed to establish a connection which was the only enlivening aspect during my studies. I didn't find anything in Israeli art that inspired me, but I had discovered Art Spiegelmans "Maus" a few years earlier and also Robert Crumb. So instead of making video art or performance or even easel painting ( god forbid- no one was doing painting during those years) I drew comics during my studies and also showed them at the end of the year exhibitions. Most of my teachers did not know what to make of me showing comics in a fine art context. I did start to occasionally do illustration jobs for newspapers, some character design for an animated tutorial for parents dealing with children who got cancer. I did an album cover for a band from Oregon and I kept doing comics putting out little zines or publishing with the A4 comics group that was founded by the legendary Dudu Geva.
My current project is a series of drawings. It is called " The Eloquence of Stupidity". I draw them directly on the computer. I lost interest in doing linear narrative . When I did comics in the past I would often write a script and doing the illustration then was only a matter of hacking it out without making any interesting discoveries during the process of drawing. While now the unfolding of the drawing is about always trying to move into new territory. Paul Klee talked about " taking the line for a walk" but really during the drawing process it often feels more as if the line is taking me for a walk. The titles or descriptions I give to my drawings are important to me. They signify that I reached a place where the drawing has enough force to point the viewer into a direction of thinking for himself without narrowing the meaning of the drawing to much down to a simple cartoon punchline and I can leave the drawing now alone.
I mentioned Art Spiegelman and Robert Crumb. Spiegelman because of his formal daring and Robert Crumb's drawings are simply beautiful. ( He is of course also a great satirist and writer). Both of them drew autobiographical comics and so did I in the beginning. Today I cringe looking at that stuff. The autobiographical aspect in my current drawings is hidden underneath quasi philosophical accompanying title descriptions that ironically suggest exemplary metaphysical drama as a way to eschew the "confessional " and its potential for the kind of cheap exhibitionistic attention grabbing you get on reality TV. I do however think that my current drawings are as "soulbearing" as my older comics. Another great influence is Peter Saul or the Chicago Imagists, The " Hairy Who" . Formalists who did not "use" the " low" appeal of comics to make patronizing inside jokes about art or the history of painting like the New York branch of Pop artists did, but were genuinely attuned to the graphic abandon of comics and blew them up into paintings that are irreverent ,silly and a joy to look at. My own style I think comes from wanting to recreate the essentials of what it was that made me delight in looking at a comics page even before I could read them. There are in my drawings occasional references to a certain modernist gesture in painting like the "splash " of color dripping down from the upper edge of a drawing looking as if Jackson Pollock while trying to create a comic book suddenly stumbled upon the inspiring potential inherent in the " inaccurate line" of a brush stroke or the energy of the arbitrary splash . So I try to combine my earliest artistic pleasure taking with the stuff I learned about later.
The only " purpose " I have is to discover something while I draw that I haven't done before. Something that keeps the world open and interesting for me. Hoping that if it is interesting for me that there will be someone looking at it and also find something interesting in it.
My current series I haven't yet shown anywhere.
The music I listen to when I draw is partly very different from the music I listen to when I don't draw . My current hitlist when I don't draw consits of Bach's " well tempered clavier " Brahms "Deutsches Requiem , Schostakovich's 24 preludes and fuges , Cheesy easy listening music from the50 's 60's and 70's. like Andy Williams , Johny Mathis , The Carpenters , Barry Manilow , Abba. I like Frank Sinatra in his late 50's period, Thelonious Monk . Randy Newman., my favorite Jazz singer is Kurt Elling but when I draw all of this somehow does not fit. When I draw I listen to Paliaments 1975 album Mothership Connection or Miles Davis Bitches Brew, Thelonious Monk solo piano or Fats Waller and King Oliver very old time jazz. Punk is too noisy for me . I like punks visual aesthetics though.
Well I would need to channel my energies into something heroic like killing the dictator of a banana republic.
please do the dishes that I left in the sink, pay my rent , I also need some pocket money .
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1- First of all, I want to thank you for sharing your illustrations on the 10charruas10crestas blog, and for taking time to answer this interview. So to begin, why don't you tell us your name, where are you from and where are you going?
2- since when do you dedicate yourself to art, at least to draw?
3- we tell how a drawing of yours develops. From the idea, through the materials, to the final finish.
4- Do you have any influence as a cartoonist, or do you think you have your own style?
5- what is your interest when drawing, and do your drawings have a purpose? What do you hope people see in them, or what do you think they think?
6- have your drawings been used for any purpose?
7- where can you see your drawings?
8- what are your favorite bands?
9- how would your life be without art?
10- what message would you like to leave here for those who see your interview and image gallery?
It's a pleasure to share my drawings with you and thank you for asking.
My name is Oliver Neumann . I was born in Germany and I moved to Israel a very long time ago. I live in Jerusalem. A place charged with religious hysteria, historical drama and political conflict that projects to people from quieter places , say central Europe- a very romantic aura of "real" existential drama. I mean despite the apocalyptic babble of the average middle class liberal in Germany about racism and the ecological disasters and the end of democracy awaiting us, ( which all might very well be true) I do suspect them of looking at those problems rather as a form of entertainment . And of course I am narcissistic enough to play up the drama for my European friends to make myself more interesting when in truth I am a timid person who does not search out dramatic situations to assert myself heroically.
 |
I studied fine art in Tel Aviv in the 1990's. There was one wonderful artist, teacher and person : Gary Goldstein with whom I managed to establish a connection which was the only enlivening aspect during my studies. I didn't find anything in Israeli art that inspired me, but I had discovered Art Spiegelmans "Maus" a few years earlier and also Robert Crumb. So instead of making video art or performance or even easel painting ( god forbid- no one was doing painting during those years) I drew comics during my studies and also showed them at the end of the year exhibitions. Most of my teachers did not know what to make of me showing comics in a fine art context. I did start to occasionally do illustration jobs for newspapers, some character design for an animated tutorial for parents dealing with children who got cancer. I did an album cover for a band from Oregon and I kept doing comics putting out little zines or publishing with the A4 comics group that was founded by the legendary Dudu Geva.
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My current project is a series of drawings. It is called " The Eloquence of Stupidity". I draw them directly on the computer. I lost interest in doing linear narrative . When I did comics in the past I would often write a script and doing the illustration then was only a matter of hacking it out without making any interesting discoveries during the process of drawing. While now the unfolding of the drawing is about always trying to move into new territory. Paul Klee talked about " taking the line for a walk" but really during the drawing process it often feels more as if the line is taking me for a walk. The titles or descriptions I give to my drawings are important to me. They signify that I reached a place where the drawing has enough force to point the viewer into a direction of thinking for himself without narrowing the meaning of the drawing to much down to a simple cartoon punchline and I can leave the drawing now alone.
 |
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I mentioned Art Spiegelman and Robert Crumb. Spiegelman because of his formal daring and Robert Crumb's drawings are simply beautiful. ( He is of course also a great satirist and writer). Both of them drew autobiographical comics and so did I in the beginning. Today I cringe looking at that stuff. The autobiographical aspect in my current drawings is hidden underneath quasi philosophical accompanying title descriptions that ironically suggest exemplary metaphysical drama as a way to eschew the "confessional " and its potential for the kind of cheap exhibitionistic attention grabbing you get on reality TV. I do however think that my current drawings are as "soulbearing" as my older comics. Another great influence is Peter Saul or the Chicago Imagists, The " Hairy Who" . Formalists who did not "use" the " low" appeal of comics to make patronizing inside jokes about art or the history of painting like the New York branch of Pop artists did, but were genuinely attuned to the graphic abandon of comics and blew them up into paintings that are irreverent ,silly and a joy to look at. My own style I think comes from wanting to recreate the essentials of what it was that made me delight in looking at a comics page even before I could read them. There are in my drawings occasional references to a certain modernist gesture in painting like the "splash " of color dripping down from the upper edge of a drawing looking as if Jackson Pollock while trying to create a comic book suddenly stumbled upon the inspiring potential inherent in the " inaccurate line" of a brush stroke or the energy of the arbitrary splash . So I try to combine my earliest artistic pleasure taking with the stuff I learned about later.
The only " purpose " I have is to discover something while I draw that I haven't done before. Something that keeps the world open and interesting for me. Hoping that if it is interesting for me that there will be someone looking at it and also find something interesting in it.
My current series I haven't yet shown anywhere.
The music I listen to when I draw is partly very different from the music I listen to when I don't draw . My current hitlist when I don't draw consits of Bach's " well tempered clavier " Brahms "Deutsches Requiem , Schostakovich's 24 preludes and fuges , Cheesy easy listening music from the50 's 60's and 70's. like Andy Williams , Johny Mathis , The Carpenters , Barry Manilow , Abba. I like Frank Sinatra in his late 50's period, Thelonious Monk . Randy Newman., my favorite Jazz singer is Kurt Elling but when I draw all of this somehow does not fit. When I draw I listen to Paliaments 1975 album Mothership Connection or Miles Davis Bitches Brew, Thelonious Monk solo piano or Fats Waller and King Oliver very old time jazz. Punk is too noisy for me . I like punks visual aesthetics though.
Well I would need to channel my energies into something heroic like killing the dictator of a banana republic.
please do the dishes that I left in the sink, pay my rent , I also need some pocket money .
1- Antes que nada, quiero agradecerte por compartir sus ilustraciones en el blog de 10charruas10crestas, y por tomarte el tiempo para responder esta entrevista. Entonces, para empezar, ¿por qué no nos dices tu nombre, de dónde es y a dónde vas?
2- ¿desde cuando te dedicas al arte, al menos al dibujo?
3- cuentanos cómo se desarrolla un dibujo tuyo. Desde la idea, pasando por los materiales, hasta el acabado final.
4- ¿Tienes alguna influencia como dibujante, o crees que tienes tu propio estilo?
5- ¿cuál es tu interés a la hora de dibujar, y tienen algún propósito tus dibujos? ¿Qué esperas que la gente vea en ellos, o qué crees que piensan?
6- ¿se han utilizado tus dibujos para algún propósito?
7- ¿dónde puedes ver tus dibujos?
8- ¿cuáles son tus bandas favoritas?
9- ¿cómo sería tu vida sin arte?
10- ¿Qué mensaje te gustaría dejar aquí para quienes vean tu entrevista y galería de imágenes?
Es un placer compartir mis dibujos con ustedes y gracias por preguntar.
Mi nombre es Oliver Neumann. Nací en Alemania y me mudé a Israel hace mucho tiempo. Vivo en Jerusalén. Un lugar cargado de histeria religiosa, drama histórico y conflicto político que proyecta a la gente de lugares más tranquilos, digamos de Europa central, un aura muy romántica de drama existencial "real". Quiero decir, a pesar del balbuceo apocalíptico del liberal medio de clase media en Alemania sobre el racismo y los desastres ecológicos y el fin de la democracia que nos esperan (lo cual podría muy bien ser cierto), sospecho que miran esos problemas más bien como una forma. de entretenimiento. Y, por supuesto, soy lo suficientemente narcisista como para representar el drama de mis amigos europeos para hacerme más interesante cuando en verdad soy una persona tímida que no busca situaciones dramáticas para afirmarme heroicamente.
Estudié bellas artes en Tel Aviv en la década de 1990. Hubo un artista, maestro y persona maravillosos: Gary Goldstein con quien logré establecer una conexión que fue el único aspecto vivificante durante mis estudios. No encontré nada en el arte israelí que me inspirara, pero había descubierto Art Spiegelmans "Maus" unos años antes y también a Robert Crumb. Entonces, en lugar de hacer videoarte o performance o incluso pintura de caballete (Dios no lo quiera, nadie pintaba durante esos años) dibujé cómics durante mis estudios y también los mostré en exposiciones de fin de año. La mayoría de mis profesores no sabían qué pensar de mí mostrando cómics en un contexto de bellas artes. De vez en cuando comencé a hacer trabajos de ilustración para periódicos, un poco de diseño de personajes para un tutorial animado para padres que tratan con niños que tienen cáncer. Hice la portada de un álbum para una banda de Oregon y seguí haciendo cómics sacando pequeños fanzines o publicando con el grupo de cómics A4 que fue fundado por el legendario Dudu Geva.
Mi proyecto actual es una serie de dibujos. Se llama "La elocuencia de la estupidez". Los dibujo directamente en la computadora. Perdí el interés en hacer narraciones lineales. Cuando hacía cómics en el pasado, a menudo escribía un guión y hacer la ilustración era solo una cuestión de hackearlo sin hacer ningún descubrimiento interesante durante el proceso de dibujo. Mientras que ahora, el despliegue del dibujo se trata de intentar siempre adentrarse en un nuevo territorio. Paul Klee habló sobre "llevar la línea a caminar", pero realmente durante el proceso de dibujo a menudo se siente más como si la línea me estuviera llevando a caminar. Los títulos o descripciones que doy a mis dibujos son importantes para mí. Significan que llegué a un lugar donde el dibujo tiene suficiente fuerza para señalar al espectador en una dirección en la que pensar por sí mismo sin reducir el significado del dibujo a un simple remate de caricatura y puedo dejar el dibujo ahora solo.
Mencioné a Art Spiegelman y Robert Crumb. Spiegelman por su atrevimiento formal y los dibujos de Robert Crumb son simplemente hermosos. (Por supuesto, también es un gran escritor y satírico). Ambos dibujaron cómics autobiográficos y yo también lo hice al principio. Hoy me estremezco al mirar esas cosas. El aspecto autobiográfico de mis dibujos actuales se esconde debajo de las descripciones casi filosóficas de los títulos que lo acompañan y que, irónicamente, sugieren un drama metafísico ejemplar como una forma de evitar el "confesionario" y su potencial para el tipo de atención exhibicionista barata que se obtiene en los reality shows. Sin embargo, creo que mis dibujos actuales son tan "conmovedores" como mis cómics más antiguos. Otra gran influencia es Peter Saul o los Chicago Imagists, The "Hairy Who". Formalistas que no "utilizaron" el "bajo" atractivo de los cómics para hacer bromas condescendientes sobre el arte o la historia de la pintura como lo hizo la rama neoyorquina de artistas pop, pero que estaban genuinamente en sintonía con el abandono gráfico de los cómics y los hicieron estallar. en pinturas que son irreverentes, tontas y un placer de mirar. Creo que mi propio estilo proviene de querer recrear lo esencial de lo que me hizo deleitarme al mirar una página de cómics incluso antes de que pudiera leerlos. En mis dibujos hay referencias ocasionales a un cierto gesto modernista en la pintura, como el "toque" de color que gotea desde el borde superior de un dibujo, como si Jackson Pollock, mientras intentaba crear un cómic, de repente se topara con el potencial inspirador inherente a la "línea inexacta" de un trazo de pincel o la energía de la salpicadura arbitraria. Así que trato de combinar mis primeros placeres artísticos con las cosas que aprendí más tarde.
El único "propósito" que tengo es descubrir algo mientras dibujo que no había hecho antes. Algo que mantiene el mundo abierto e interesante para mí. Con la esperanza de que si es interesante para mí, habrá alguien mirándolo y también encontrará algo interesante en él.
Mi serie actual no la he mostrado todavía en ninguna parte.
La música que escucho cuando dibujo es en parte muy diferente de la música que escucho cuando no dibujo. Mi lista de éxitos actual, cuando no dibujo, consiste en el Deutsches Requiem de Brahms "de buen temperamento" de Bach, los 24 preludios y fuges de Schostakovich, música cursi y fácil de escuchar de los años 50, 60 y 70. como Andy Williams, Johny Mathis, The Carpenters, Barry Manilow, Abba. Me gusta Frank Sinatra, de finales de los 50, Thelonious Monk. Randy Newman., Mi cantante de jazz favorito es Kurt Elling, pero cuando dibujo todo esto de alguna manera no encaja. Cuando dibujo escucho el álbum Paliaments 1975 Mothership Connection o Miles Davis Bitches Brew, piano solo de Thelonious Monk o Fats Waller y King Oliver jazz muy antiguo. El punk es demasiado ruidoso para mí. Sin embargo, me gusta la estética visual de los punks.
Bueno, necesitaría canalizar mis energías en algo heroico como matar al dictador de una república bananera.
por favor lave los platos que dejé en el fregadero, pague el alquiler, también necesito algo de dinero de bolsillo.
Hace un gran trabajo...aunque no sea punk o anarco....a mi me gusta.
ResponderEliminarMenudo trabajo tienen sus diseños...brutal
🖤