Got the latest “booster” the other day and my body did not take too kindly to it. Out of commission for the day which frustrates me to no end. Trying to read and failing, may end up having to be a slutty TV day. Let's see what I can find.
On another note, my latest piece:
It's called POWER DANCE PATTERN, hand-stamped on 300 gsm acid-free paper, 9”x12”. The variation in stamping makes each one completely unique.
#journal #art #work
“Home is not where you are born, it's where all your attempts to escape come to an end.”
I've always cherished this quote attributed to the great Egyptian Nobel Laureate Naguib Mahfouz. Year after year, its meaning and relevance become ever more acute for me. I've also always loved a particular photo of Naguib with a fedora (a “western” piece of apparel) on his head, the picture upon which the above pictured artwork series is based. Not quite how Naguib is typically depicted or remembered.
Aerosol over letterpressed print on 11”x17” archival paper. Limited edition of 10, available only at Garage.Ganzeer.
As much as I may have bitched about working on these 19th century scenes in TSG, I'm quite pleased with the results.
Pages fully scanned in, now working on assembly, colors, and letters, in addition to a couple work-for-hire gigs. One in particular I'm really excited about because it just couldn't be more up my alley. Between the queer punk rock vibes and strain of revolt all effortlessly fused within a speculative fiction yarn... I mean c'mon. Could I even hope for anything so perfect?
New print drop from my Halal Pornography series. This one is called Drip.
House has been vibrating non-stop from 7:30am to 7:30pm due to serious construction around the corner. Houston public works. This has been going on for days, and today we received notice that come next week they will be starting on our street. Driveway and pretty much any access to our house will be non-existent for some 40+ days, in addition probably to even more intense vibration. Sadly and very quickly looking into potential co-working spaces to utilize in the meantime.
Co-working spaces however don't quite lend themselves to analogue artmaking (paper, ink, paint, the works) which will throw a wrench in my usual practice and force me to focus on the digital-only components of my projects for a while.
Luckily, TSG Ch.7/#8 is at last fully inked. Will scan pages in tomorrow and start assembly/screentones/colors/letters, all digital work. A couple other analogue things pertaining to other projects on the docket though, may have to rush through them over the next few days.
There has been a sudden influx of subscribers to my newsletter despite it being on hiatus right now and I'm not entirely sure what the source or reason is.
The last stroke on the final page in the latest TSG should be going down today (easily a month behind schedule) after which I scan in the entire chapter and begin the digital part of the job (screentones, letters, colors, and assembly).
19% into STARGAZER: THE LIFE, WORLD, AND FILMS OF ANDY WARHOL by Stephen Koch which I am thoroughly enjoying. Started it just to get an idea, but now I'm hooked and cannot put it down despite a handful of inaccuracies I've noticed. It's okay though, because it's not the historical play-by-play facts that are important. It's the theoretical insight gleamed from the observation of the general happenings explored in this excitingly written text.
Recording live on the Afikra podcast tomorrow, which anyone can “attend”.
#journal #work #reads
New print drop, this one's been a long time coming. The original artwork it is based on was created back in 2019 when I was living in Denver and experiencing an acute case of homesickness. Since then, many a homesick person have expressed desire for an affordable print edition, which makes sense because us homesick immigrants can only afford so much darnit! Anyway, finally got around to it.
I posted something earlier, but it seems to have not posted and vanished into oblivion. I hate technology sometimes (most of the time). It's more bugs and troubleshooting than anything.
Going live on the Afikra podcast in a few days. Anyone can RSVP and attend and potentially partake in the audience Q&A that is to follow.
This beautiful tome had to arrive in the mail to remind me that I have work on show at the Letterform Archive in San Francisco. STRIKETHROUGH: TYPOGRAPHIC MESSAGES OF PROTEST, curated by Silas Munro and Stephen Coles, is exactly what it says on the tin; a look at visual works of activism across time and space with a particular focus on typographic usage.
The tome in question acts on one hand as the catalogue for the exhibition, but on the other hand as a standalone overview of over a century of typography in relation to activism.
Within its pages are powerful works from the black liberation movement, anti-war protests, OSPAAL, feminist uprisings, pro-vote campaigns, indigenous struggles and so much more.
Absolutely essential to anyone even remotely interested in activism or graphic design and even better for those interested in both. Available direct from the Letterform Archive shop.
Finally remerged back to life right before Labor Day weekend, otherwise known as another American excuse to grill meat and watch sports. Neither of which I did, but rather O got to tend to some lingering house issues (some of which involved power tools, so yeah, still very American).
Have also been working on multiple comix projects, one of which is pictured above; an Arabic edition of a short autobio thing called SELECTIVE MYOPIA which I did for The Nib many moons ago. Because it'll be running in B&W, I had to mess with various attempts at tones to replace the colors, which is what you're seeing in the print-tryouts above. Although the color palette in the original is very limited, it is utilized as an integral part of the storytelling. To get the same effect with halftones meant needing to be able to easily differentiate between the different tones while also making sure the tones aren't awfully distracting and are 100% print-friendly.
Been working on another comix gig in addition of course to THE SOLAR GRID (will it ever end?). And actually, there was yet another short comix thing I worked on a little while back. It's called MOUTHFAIL, currently being serialized on my substack.
Actually now that I think of it, this year really has been the year of comix for me. Usually my time is taken up by projects of a very different nature, and I have to literally carve out little nooks of time to do comix, but this year... it's been mostly comix so far. Not entirely, but mostly.
#journal #work #comix
Off to Oslo in a couple days which leaves me with the impossible task of attempting to ink 7 pages of comix in less than 48 hours. Get the entire batch of 14 pages scanned and ready for [digital] lettering on my flight (and maybe a little in my eventual hotel room) so I can send this project out and be done with it before prepping my keynote presentation, which luckily isn't until day 4 of the conference (June 30).
I've been riding the 1000mph wave for a good few months now and it looks like it is bound to continue for the remainder of the summer. It'd be nice to sit under a tree and watch the birds sometime.
#journal #work #comix
I recently learned that Alaa Abd El Fattah is really into comix. Not only that but he seems to have impeccable taste in the medium. One of his all-time favorite series is 90's era THE SANDMAN for example.
He is now on day 83 of hunger strike. The internet tells me that the human body can survive without food for up to two months. This puts Alaa's health well beyond the critical zone.
Here's a recent BBC article on Alaa's situation, and here's one from The Intercept. And here's a link to his book containing much of his insightful and incredibly clairvoyant writing from prison.
He is of dual Egyptian/British citizenship and has been denied access to a consular visit.
Those interested in helping and believe they live in a democratic society can contact their representatives. Alternatively (or simultaneously) you can raise hell on social media using the hashtag #SaveAlaa
I hope he doesn't mind my less than accurate depiction of him in this shortish piece of comix I've been working on, but more importantly: I hope he gets to see it at all.