#tmc2017

Animals are funny // March 17

Artist and RISOmaster Patrick Kyle has been self publishing so many zines that one can lose track of them. Thanks to Patrick that most of them are numbered. “Distance Mover”, “New Comics” and “Special Friend” were and are ongoing series that came out as beautifully RISO-printed books. Patrick has two books out with Torontos finest publisher Koyama Press. „Distance Mover“ and „Don’t Come in Here“.

We love Patricks work and are so happy that he’s coming all the way from Canada to show his drawings and sell his zines and books at The Millionaires Club! Patrick is showing his work at Hopfe (Kolonnadenstrasse), March 24th-26th, Opening reception: March 24th, 7pm Also him and Gina Wynbrandt will be live on Kubshow @ Radio Blau, March 25th, 8 pm On Sunday, March 26th, 3 pm there will be an Artist Talk with Patrick and Gina in their exhibition.

Toronto seems to be a paradise for Cartoonists with the great annual comic festival TCAF, the publisher Koyama Press and The Beguiling, a legendary comic book shop. Can you tell us a bit about the local comic scene? I might not necessarily call it a paradise - Toronto is a fairly expensive city to live in and as cartoonists, artists, illustrators etc, we're normally living off limited resources. That being said, there are a lot of avenues here in which to exhibit and sell your work here and there's great support for comic launches and other events from institutions like The Beguiling and Koyama Press. Weird Things (a gallery and antique shop operated by Jonny Peterson) has been great in showcasing a lot of weirdo artists and cartoon inspired work over the last few years.

You’re still self publishing a lot besides being published by Koyama Press. What are the benefits of printing your own books for you? I'm incredibly thankful to be working with Koyama Press - having the support of a publisher with the resources to make larger print runs and access to distributors is really amazing and It's been very beneficial for me in reaching a broader audience. Book making has been part of my practice since the start. I love doing it and I like being able to make small books with short print runs that are only available directly from me.

„Don‘t come in here“ is quite long compared to your zines. How did you work out the rhythm of that narration? How did you compose the scenes with each other? It wasn't a huge jump from working on zines because the whole book is comprised of short vignettes. I had an overarching narrative in mind when I started but I was able to play around with it a lot and move pieces of the story around as I went in order to find the right rhythm.  

There are some really funny movements depicted in „Don’t come in here“. Which role does animation play in your work? Don't Come in Here is (maybe) the first thing I've done that has this sort of cinematic/animation like approach. I don't necessarily think that comics should be storyboard-like or should be easily translatable into animation. Comics are really a different medium and cartoonist should be eager to capitalize on these differences. My other books (Black Mass + Distance Mover) have no traditional panels - the information is sort of just laid out of the page and the reader has to figure out how to follow it as they go. I had a lot of fun making comics this way, but that approach prevented me from having any cinematic-type pacing or any drawn out sequences.

Are you working a lot on the single drawings of your characters or is it rather a one-shot? I'm not sure what you mean by this. Do you mean do I do a lot of character design work before hand? Figuring out what the characters look like ahead of time? I don't really do that - I just start working and the characters just are whatever they are.

Which (Comic)Artists do you cherish? Too many to consider, but heres a few off the top of my head: Phillip Guston, Mark Beyer, Brian Chippendale, Barbara Rossi + All of my friends and peers in Toronto.

Your ongoing series ‚Special Friend‘ is about a friendship ( maybe a dependency?) between two characters named Babylon and Durgie. Can you describe the character of their relationship? Will they ever find satisfaction and peace? Special Friend has a pretty simple concept - one of the characters is bad (Babylon) and the other one is good (Durgie). Neither of them is really inherently good or bad, though Babylon often states that he is 'Mean' and he often pretends that he doesn't like Durgie or doesn't know him. His scheming and mischievous behaviour are usually only to attract Durgie, whom Babylon secretly reveres. Durgie is always optimistic and loves Babylon, though because Babylon has such internalized dislike of himself, he doesn't believe that Durgie loves him and goes to great length to impress him, which sometimes tires Durgie out. I think they complete satisfaction and peace in their disfunction - without it there wouldn't be a comic to make!

Do you have a script for the dialogues? No - I always just make it up as I go. Occasionally I'll make a mistake or change dialogue and you can see where I've scribbled a word out. They come together in under 5 minutes usually.

The world most of your characters live in is charmingly chaotic, it makes me think of a dismembered user manual tenderly put back together. How do you create these landscapes and rooms? Also (but that might go too far): Is this reflecting your view on the world in any way? I honestly think this style has developed from a lack of ability - I avoided drawing backgrounds in my early comics because really didn't feel confident doing it. I would just leave a lot of white space and/or draw a bunch of weird esoteric objects around to fill space. I obviously feel a lot more confident depicting backgrounds and spaces now - but I think that floating-in-the-void approach has evolved into something that is characteristic of my style.

How does a Kyle-(work)day look like? It's always varied - this week I'm just relaxing and putting mail orders together. I just finished work on my next book for Koyama Press, and that schedule day-to-day was more hectic. Since the beginning of January I was drawing about two pages a day in order to finish the book on time. That varied as well thought - other obligations come up; you never know when someone will want to hire you for an illustration, and I'm also teaching twice a week at OCADU here in Toronto. I have to be pretty vigilant in how I use my time. I'm looking forward to starting something new in the next week or so that I'll debut at TCAF.

Thank you, Patrick! See you soon in Leipzig!! more work by Patrick: http://www.patrickkyle.com https://www.instagram.com/patrick.kyle/?hl=de https://twitter.com/_patrickkyle

TAKESHIBA MUSIC CRUISE 2016

Chapter-2 〜Holy Night〜

12月25日（日）MC

[ 佐藤 美希 ]

ご出演頂きましてありがとうございました!!

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