I liked The Economist’s headline this week.
Oh **UK! What next for Brexit?
When historians come to write the tale of Britain’s attempts to leave the European Union, this week may be seen as the moment the country finally grasped the mess it was in. In the campaign, Leavers had promised voters that Brexit would be easy because Britain “holds all the cards”. This week Parliament was so scornful of the exit deal that Theresa May had spent two years negotiating and renegotiating in Brussels that mps threw it out for a second time, by 149 votes—the fourth-biggest government defeat in modern parliamentary history. The next day mps rejected what had once been her back-up plan of simply walking out without a deal. The prime minister has lost control. On Wednesday four cabinet ministers failed to back her in a crucial vote. Both main parties, long divided over Brexit, are seeing their factions splintering into ever-angrier sub-factions. And all this just two weeks before exit day.
Another review of Mark Dery’s biography of the “deadpan Victorian-Surrealist”, Edward Gorey. This one seems more positive than the previous one I found.
Edward Gorey: A highly conjectural man
Hackett would be the first of many people who championed Gorey, who at Parker worked on murals and artist projects for the school paper. It’s with Hackett that we begin to see a defining element of Gorey’s career: the willingness of others to embrace Gorey’s weirdo style.
The New Yorker magazine has a review of an Edward Gorey biography. I don’t think the reviewer cares much for the book, but greatly appreciates the life and work of this strange artist: “It’s nice to have a biography of Gorey, with whatever silliness.”
Edward Gorey’s enigmatic world
These dark territories give the book’s overt themes a place in which to burrow and ripen. Alison Lurie wrote that, in looking at such drawings of Gorey’s, “one of the things you want to remember is what the nineteen-fifties were like. . . . All of a sudden everybody was sort of square and serious, and the whole idea was that America was this wonderful country and everybody was smiling and eating cornflakes and playing with puppies.” Gorey’s hatching and cross-hatching were his answer to that—the shadows inside the sunny hedge.
On the shore a bat, or possibly an umbrella,
disengaged itself from the shrubbery,
causing those nearby to recollect the miseries of childhood.
I love this new take on an old art form.
The spreadsheet architecture of Emma Stevens
Normally the mere mention of a spreadsheet can bring a distant glaze across the eyes of most creatives – the file format perceived as the antithesis of imagination by those desiring to create rather than tabulate. But Australian landscape architect Emma Stevens imagined the mundane Excel spreadsheet as an opportunity rather than an impediment to exploring art, using a tried and true technique of type as a medium to create a vast skyline out of text and cells.
It’s hard to believe that it’s the same tool, but used in a very different way, as the one this Japanese artist uses.
Meet Tatsuo Horiuchi, the 77-year-old artist who ‘paints’ Japanese landscapes with Excel
For over 15 years, Japanese artist Tatsuo Horiuchi has rendered the subtle details of mountains, cherry blossoms, and dense forests with the most unlikely tool: Microsoft Excel. The 77-year-old illustrator shunned the idea of paying for expensive painting supplies or even a basic drawing program for his computer, saying that he prefers Excel even over Microsoft Paint because it has “more functions and is easier to use.” Using simple vector drawing tools developed primarily for graphs and simple shapes, Horiuchi instead draws panoramic scenes of life in rural Japan.
Sadly, all the spreadsheets I create are far more conventional.
Buffalo Bill Gates makes celebrity portraits like you’ve never seen
Buffalo Bill Gates, aka Swedish artist Kalle Mattsson, a creator whose work is very much perfect for the part of the web made up of memes, idol irreverence and anarchic art. His weirdo celebrity portraits mash up famous faces with other celebrity identities or even fictional entities to create offbeat hybrid personalities like Putintin featured here.
As well as being really funny, I love how perfectly these faces line up. It must have taken ages to find photos with just the right angle.
In support of Mental Health Awareness Week earlier this month, several freelance illustrators discussed their own experiences with anxiety, depression and a range of other mental health issues, with the aim of supporting and encouraging others that may be facing similar issues.
‘None of us need to be alone’: Illustrators’ raw and honest accounts of how they’ve coped with mental illness
“My experience is that many creative types often have hermetic tendencies. Working for yourself, by yourself will see you spend perhaps an unhealthy amount of time alone — sometimes this is even fetishised and encouraged with the suggestion that one isn’t really ‘hustling’ unless they have what amount to terrible habits,” says Canadian illustrator, designer, and founder of Poly Studio, Jamie Lawson.
“This is, of course, nonsense. Though it’s an attitude that I see changing in the culture, it still bears repeating that developing healthy social habits is as important for a freelancer as their technique, professional practices or work ethic.”
There are links to a range of resources and suggestions, but I think the interviews with the dozen or so artists on their issues and successes is most inspiring.
Tobias Hall on how mindfulness helped with insomnia and anxiety
What did you find helped your situation? “Mindfulness was and is the single biggest reason behind my recovery. It taught me a completely new way of looking at what happens in the mind. Over time I have learnt to identify the ‘my mind’ and ‘me’ as two separate things – I accept that I’m not always in control of the noise which goes on up there. I understand that behind all of that noise, my mind is only ever looking out for danger, as it’s evolved to do. And as such, it means I buy into thoughts and feelings a lot less than I did in the past. For sure, I still get caught up in negative thought and anxiety is still a part of my life, but my relationship with it has fundamentally changed and it’s no longer a big problem for me day-to-day.
Illustrator Sharmelan Murugiah on coping with depression
How have these experiences stemmed from, or been tied to, the life of being a freelance illustrator? “I do feel the life of being an illustrator can be quite lonely. I am set up in a solitary home studio. I made my way into this profession via architecture and then design so I have not had those early connections with folks in the industry. The growing effect of social media on my work can also make you feel pressured. Seeing work pour out of other artists social accounts even though I know we use social media generally to present the best of ourselves online.”
“The charming visual tale of an introverted little boy who grew up to become the quintessential modern genius.”
19th-Century Mathematical Illustrations of Consciousness
Simply cannot think of a more intriguing headline. I could quite easily reblog all these Brain Pickings articles, but this one in particular caught my eye. Imagine, being able to actually see–let alone draw–consciousness. Benjamin Betts thought he could.