Mark Beyer

13 11 2016

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Thomas de Marsay

8 10 2016

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Property

20 07 2016

Another pic from my upcoming graphic novel “Property”

3prop





Glen Orbik

3 04 2016





Joao Ruas

8 04 2015

Sometimes I’m not sure what I’m looking at. Illustrations, paintings, sketches, or comic strips. Wonderful work et al.

“João Ruas paints a haunting world inhabited by enigmatic figures and regal beasts awash in a maelstrom of mysterious energies. His explorations of the darker realms of the spirit evoke states of emotional turmoil, spiritual hunger and troubled passion. Weaving together history, mythology and cryptic symbolism in a misty dreamscape where twilight is ever at hand and the bounds of gravity seem optional, he describes an ethereal mythos that is somehow deeply personal and disquietingly universal at the same time.”





Anton Kannemeyer

21 03 2015

I’m not sure how comfortable I was with these pics. Satire is never comfortable. What Nannemeyer is pointing out so well is hypocrisy.

Anton Kannemeyer (born 30 October 1967 in Cape Town) is a South African comics artist, who sometimes goes by the pseudonym Joe Dog. Kannemeyer was also a senior lecturer at the University of Stellenbosch.

He studied graphic design and illustration at the University of Stellenbosch, and did a Master of Arts degree in illustration after graduating.[2] Together with Conrad Botes, he co-founded the magazine Bitterkomix in 1992 and has become revered for its subversive stance and dark humour.[3] He has been criticised for making use of “offensive, racist imagery”.[4] Kannemeyer himself said that he gets “lots of hate mail from white Afrikaners”.[1]

His works challenge the rigid image of Afrikaners promoted under Apartheid, and depict Afrikaners having nasty sex and mangling their Afrikaans.[5] “X is for Xenophobia”, part of his “Alphabet of Democracy”, depicts Ernesto Nhamwavane, a Mozambican immigrant who was burnt alive in Ramaphosa in 2008.[6] Some of Kannemeyer’s works deal with the issues of race relations and colonialism, by appropriating the style of Hergé’s comics, namely from Tintin in the Congo.[7][8] In “Pappa in Afrika”, Tintin becomes a white African, depicted either as a white liberal or as a racist white imperialist in Africa. In this stereotyped satire, the whites are superior, literate and civilised, and the blacks are savage and dumb.[9] In “Peekaboo”, a large acrylic work, the white African is jumping up in alarm as a black man figure pokes his head out of the jungle shouting an innocuous ‘peekaboo!’[10] A cartoon called “The Liberals” has been interpreted as an attack on white fear, bigotry and political correctness: a group of anonymous black people (who look like golliwogs) are about to rape a white lady, who calls her attackers “historically disadvantaged men”.





R. Kenton Nelson

8 01 2015

These paintings give me the creeps. Its as if you’d been thrust into a planet that existed in the 1950s. Not the real 1950s but some kind of 2 dimensional version. There is nothing behind the images. No foreboding. No sense of social injustice or ecological disaster. Exactly the way the 50s operated. People had just gotten out of a world war and they did not want to face any more issues. Especially in the suburbs. Which became iconic for looking forward. As if there was no past.

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