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The Short List – Gareth Hopkins (@grthink)

Disclosure – I have worked with Gareth on a contributor’s copy only zine before and am currently working with him on an anthology planned to release in June.

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Petrichor         preview it      buy it        listen to Gareth talk about it

 

ZL –  I believe you started out drawing for fashion zines before moving on to drawing comic zines. Why the move to comic zines?

GH – I wasn’t doing fashion zines, but rather fashion illustration for Amelia’s Magazine. I’d already started working on The Intercorstal – I’d done 30 or so pages, I think? – but was looking for new challenges, and Amelia’s Magazine was a great place to do fashion and editorial illustrations. There’d be a call out from either Amelia herself or one of the writers, and you’d either get some reference or a list of things to Google, then given a day or so to come up with an image. It was a challenge at the time because I was always trying to do comicsy art, which sometimes worked really well (like when I did some illustrations of Tony & Guy which were very heavily trying to be Indigo Prime)

Toni-Guy-SS12-tall2-by-Gareth-A-Hopkins
Toni & Guy illustration by Gareth for Amelia’s Magazine

but sometimes went against the grain of what the magazine’s aesthetic. Not a lot directly came out of working with Amelia’s (some people were able to make the jump to commercial illustration jobs), but I got some hard lessons in prepping artwork for print (I was in the Compendium Of Fashion Illustration, but had never used CMYK before), made some great friends, and got really comfortable with working quickly.

 

ZL – Do you remember the first time?

GH – I don’t really remember it but… there’s one panel from Revere, (by John Smith and Simon Harrison, appeared in 2000AD in the 90s) that sat in the back of my brain for years and years. It was the silhouette of a hand against the static of a TV, and the main character was trying to do some kind of magic spell using the static as a portal.

revere written in water crop
Revere Written by John Smith Art by Simon Harrison Published in 2000AD

In my brain it took up half a page, but when I re-read the comic 20-odd years later it was a tiny, incidental panel. There was just something about it that my brain glommed onto.

 

ZL – Given an unlimited budget and all the time in the world, what would be the project you’d make to be remembered by?

GH – So much of my work is the result of constraints – time, space, materials – that I don’t know what I’d do with unlimited resources. I’d definitely go large, make some kind of immersive environment, like MeowWolf, and I’d also like to make it collaborative somehow… but I don’t know if it would be memorable? Also… in general I think ‘Complete Creative Freedom’ makes people lazy. I can’t think of any situation where someone was given complete creative freedom where their art was better than when there were limits imposed — limits of budget, or content, or scale. Really good art, as far as I can tell (and I stand to be corrected) is always pushing against something.

 

ZL – You have quite a long history in the small press/ zine scene now, with a history of style shifts as well. Is there a style you’ve left behind that you feel revisiting would reap interesting rewards?

GH – Well, I’d sort of left behind the old ‘Intercorstal style’, which was very tight and careful, during ‘Found Forest Floor‘ which was very impulsive and loose, but made an intentional return to it when I worked on The Intercorstal: Extension. For anyone unfamiliar with how I made it, I’d done a project called ‘The Intercorstal 2’ 

which involved abstracting existing comics (by other artists that I liked) and also doing my own pages to the same format and dimensions. I’d been selling the results of that as a zine, but one time when I printed it out got the settings wrong and instead printed each A5 page in the middle of an A4 sheet. I didn’t want to waste the paper, so I decided to carry on the pages by filling out the space to either side of that, literally having to re-learn the styles and techniques I’d been using previously. There are some styles I can’t return to though… ‘Too Dry To Rot’ was originally intended as a return to the first Intercorstal pages that I’d done, but has since become a total rejection of them.

 

ZL – You have a graphic novel, Petrichor, out with Good Comics.  What image from this work would you choose to have tattooed on your back?

GH -I don’t know if there are any images from it that are defined enough to become tattoos. They’re so abstract that they’re more… audio than visual? Like, they give a sense of feeling, rather than being something identifiable to ‘read’ (which isn’t the same for many of my other comics, I should point out, where I’ve carefully constructed the images to work visually).

Petrichor page
Petrichor page

 

 

If I was going to get anything from Petrichor tattooed it’d be one of the repeating phrases, of which there’s a few to choose from. If it was to be tattooed somewhere where I’d see it, like on a forearm, I might go with ‘Vent Axia’…. but if it’s on my back it’s more for other people’s benefit, so I’d go with ‘It’s Easy To Forget How Many Times You’ve Fallen In Love’.

 

 

 

 

Intercorstal: Extension Review

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content copyright iestyn pettigrew 2019

The Short List – wing three comics

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ZL – I’ve only seen your work on your instagram account, but I see that you produced or were producing a black and white zine, was this made and, considering how much of your account is in colour, why go with black and white?

WTC – The black and white zine is called “Clara” and is incomplete. I printed out a few copies of Part One to submit to the Laydeez do Comics award on my home printer. I was not successful in my award application and received feedback that it wasn’t clear – which

Clara
Clara – Graphic novel in progress

I agree with. This was the first time I ever submitted anything! I will keep working on it. At the moment, I’m planning for it to be a three-part series. Clara is hand-drawn in pencil. The pencil drawings started as rough sketches but then I received positive feedback on the pencil, so I kept it. I scanned the pencil drawings and used the multiplication tool in Photoshop to get the black and white look. The black and white aesthetic is a better match for the story about grief than the bright colours I often use in my sketches.

 

ZL – Do you remember the first time?

WTC – I remember discovering Frida Kahlo when I was a teenager. It was that time of life when I was exploring what it meant to be an individual and a woman for the first time. I was also suffering from chronic pain, so I connected with her physical and metaphysical suffering. I grew up in the countryside in the US and didn’t have many opportunities to see fine art. I first saw her paintings in books, so it wasn’t a single piece of work – it was her lifetime of self-portraits. I think her use of colour has stuck with me ever since.

Comics is an artform I discovered later in life. The first comics I totally loved was the Love and Rockets series by Gilbert and Jamie Hernandez. It completely blew my mind. They created a rich world of complex characters and great storylines that inspired me to want to do the same. It’s a crazy hard thing to do!

Underground Art - Blue Orange Guy
Underground Art – Blue Orange Guy

ZL – Someone contacts you and say they want you offer you a year long residency. Where would be your ideal location and what would you produce?

WTC – My ideal location would be the Japanese countryside. I would travel there with no expectations of what I would produce and see what happens.

 

ZL – I’m particularly in love with the texture of your Instagram images and wondered how what you use to create those images?

WTC – Thank you! My instagram account is mainly filled with London tube portraits. I use small brown paper sketchbooks from Paperchase that have this slightly grainy texture. They are the right size for clandestine drawing in public places! I use a mixture of posca pens and wax crayons. I look to draw people who are either asleep or

Underground Art - Pink Lips
Underground Art – Pink Lips

completely absorbed in a book or their phones, that’s why most have their eyes closed. I sketch with Posca pens and colour in my sketches with crayon at a later time. I rediscovered crayons on a train journey from London to Edinburgh while drawing with my kids. Kids are so good at mixed media!

 

ZL – Your colour choices are really exciting and individual, what is the most important influence on those choices and do you draw inspiration from a specific practitioner or style?

WTC – I love contrast – be it black and white minimalism or bright loud colours. I think my early influences helped develop my taste. Frida Kahlo, Jean-Michel Basquiat, and Mark Rothko were my first loves in art. One artist who recently made a huge impact on my colour choices is Lisa Brice. I saw her exhibit at Tate Britain and completely fell in love with her use of blue.

 

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Previous Interview – The Short List – Mattias Gunnarrson

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2019