Comics Horror

January 13, 2009 2:56 pm | Comics

Comics Horror

Canadian artist Fiona Dunnett: The images of himself and death in Oaxaca are cut and collage comic style

Alvin Starkman, MA, LL.B.

The comic, self-portrait of a young Canadian, and photos of violent deaths in the Mexican daily newspaper, strange do not go together. But they are an important part of the power of the creative energy of the artist Fiona Dunnett, a resident of Oaxaca, Mexico.

Ottawa-born lived in Dunnett Oaxaca since 2005. As in the case of many artists living in this city in southern Mexico, his arrival was quite tortuous. And like many others, his artistic talent was influenced to almost stopped along the road. At five years, moved from Canada to Bangladesh to the Canadian diplomat and his mother the rest of his family. After three years, He was back in Ottawa, then a period of three years in Zimbabwe.

"When I left Zimbabwe made me feel close to South Africa. I took a course in stone carving, while there, so yes, I suppose living in Zimbabwe has had little influence on what I'm doing now "assumed. But was their level of academic training, first at the Canterbury School of Arts and the University of British Columbia, Victoria, where he graduated with honors with a. Bachelor of Fine Arts, which exposed him to the characters that have influenced their maximum creativity.

"I had a great interest in the work of Gustav Klimt [1862 - 1918], "reveals Dunnett. The Austrian symbolist painter was one of the most prominent members of Vienna Art Nouveau movement, but a controversial figure in his time, criticized for his works being too sensual and erotic. She continues: "But Lichtenstein on art, I made more conscious effort to meet and noted that with a little impression of my personality and life experiences. "

Roy Fox Lichtenstein [1923 -] 1997 was a prominent pop artist U.S., whose work was heavily influenced by advertising and popular cartoon style. This clearly shines through recent work and work Dunnett that adorns the wall above his house in the neighborhood of Xochimilco Oaxaca she shares with her boyfriend and three others: "This is based on a dream I had, but with clear images drawings, in particular, there has been a dream Calenda (parade), their bodies dragged through the streets. I once did a series based on my dreams. Part I dyed red sky of the background of this painting with [the cochineal minutes carminic acid occurs naturally and is a major export industry of Oaxaca in the] colonial period. "

Dunnett is too small. Since his arrival in Oaxaca there is no doubt that she puts her own mark in style comic, with his desire to intimidate the United Nations-learning and innovation. The geographical, cultural and political lives that offers many opportunities for inspiration art. She participated in a workshop to learn more about the use of natural dyes, such as flowers, plants and of course the cochineal, Education Research Center and Outreach Center known as Cochineal Tlapanochestli Grana. "For some time I've been thinking about using natural dyes in my work, but spent a few years, I realized that here in Oaxaca [actually, a few kilometers from town, Santa Maria Coyotepec] I had the opportunity to learn about the use of an expert, Manuel Loera Fernández, chemical Tlapanochestli. It is not artistic stimulation both in Oaxaca is hard not to enjoy everything that exists. "

Dunnett also participated in various seminars traditional practices in the famous Institute of Graphic Arts of Oaxaca (AGO) and a pair of other institutes of the city. On the other end of the spectrum, attributed two stencil graffiti with local groups to serve as additional inspiration, This is evident after a review of his work.

"I started to move away from realism and stylized, surreal works towards the end of my university studies in Canada. It was about the same time I started working with mixed media, my preference at this stage of my development. "Coming to Oaxaca was perhaps the catalyst needed to start working more experimental context of a very encouraging.

Apart from a tendency to use natural colors for backgrounds of his paintings, one of the major identifying characteristics of Dunnett's work is his use of collage Cortes — newspapers, magazines and tapes drawn. Other uses photographs of his own head and face to provide the necessary impetus for its representation of expressions and attitudes, who seeks to enter for each subject. Almost all heads all the work is based on a photographic self-portrait:

"I started doing self-portraits, when I started doing photography for several years. Then when I moved painting, having a body of images of themselves, so it was able to draw from them for my art. Although I wanted to shoot other people, I never felt comfortable doing. And even though my boyfriend and I have been together for almost four years, still do not feel comfortable even kill him. So it's just me, perhaps because of shyness when it comes to getting the others. But the red there, textured corn tamale balls, is an experiment, using a face is not mine — I think it's best if I stick to my face. "

Every face evokes different emotions, and self-image. "The faces make eye contact, viewers move their eyes around to each job and then return to the eyes and face, "he said. It is undeniable that the characteristics of Dunnett pretty face clean, and behavior, once transferred to the web, playing an important role in the direction of the viewer. She masterfully photographed head and upper body at all angles and with a lot of facial expressions for use in their work.

But there is another why we return to the images of expressions facial Dunnett: The trunk and extremities of each theme is represented too disturbing — each is a digitalized version of a photograph of a person who died violent death, usually in a traffic accident or because of an internal conflict, captured by Dunnett both print and electronic news journal Oaxaca Voice and Image of Oaxaca. But the artist herself, there is a sense of calm.

"I started to use these photos only because they started to jump out at me. We never see anything of the kind in Canada. In Oaxaca, is located in the corners and on newsstands. Death appears as a strategy common, and attitudes toward death is so different from what you and I come, not hidden. "

Dunnett, said his intention not to invoke feelings of horror, or revealing the ugly. Facial expressions, took first with a goal, then turns on canvas with a brush us away. For his work with collage iguana is curiosity on his face, instead of images demon of death, which is based in.

The juxtaposition of death with the aesthetics of the image drawn is amazing, almost like Dunnett multiple presentations of their own. It is this combination that maintains respect for the viewer and transfixed by his work. Such Fiona Dunnett time would never have left his reticence about photographing the faces of others.

About the Author

Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School in Toronto, thereafter embarking upon a career as a litigator until 2004. Alvin now resides in Oaxaca, where he writes, leads small group tours to the villages, markets, ruins and other sites, is a consultant to film production companies, and operates Casa Machaya Oaxaca Bed & Breakfast. ( http://www.oaxacadream.com ) .

Horror Comics of my Youth – Part 1

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GENE COLAN MARVEL HORROR PAGE W/MARIE SEVERIN ! VINTAGE 1970 !


GENE COLAN MARVEL HORROR PAGE W/MARIE SEVERIN ! VINTAGE 1970 !


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HUGE LOT 28 VINTAGE HORROR MAGAZINES FAMOUS MONSTERS OF FILMLAND EERIE


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Twisted Tales #1 CGC 9.8  1982  PC Horror Comic with Alien Wolrds 1on back Cover


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Web of Horror # 2 Must See!!


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Unexpected #212 VF- DC Horror Comics 1981


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DRACULA LIVES! #3 MARVEL HORROR COMIC, 1973, JOHN BUSCEMA, NEAL ADAMS COVER


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Vampire Tales #5 June 1974 Morbius Barsac Marvel Monster Horror Stan Lee FN


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WORLDS OF HORROR #1 1989 ECLECTIC VF 8.0


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GHOST MANOR #2 Fine, Horror, Charlton Comics 1968


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CREEPY #102 WARREN 1978 HORROR COMIC ALL MONSTER ISSUE VF+


CREEPY #102 WARREN 1978 HORROR COMIC ALL MONSTER ISSUE VF+


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GHOST MANOR #6 Very Good, Horror, Charlton Comics 1968


GHOST MANOR #6 Very Good, Horror, Charlton Comics 1968


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GHOST MANOR #11 Very Good, Horror, Charlton Comics 1970


GHOST MANOR #11 Very Good, Horror, Charlton Comics 1970


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Drawing on Your Nightmares RARE Cal McDonald HORROR


Drawing on Your Nightmares RARE Cal McDonald HORROR


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GHOST MANOR #13 Very Good, Steve Ditko art, Horror, Charlton Comics 1970


GHOST MANOR #13 Very Good, Steve Ditko art, Horror, Charlton Comics 1970


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GHOST MANOR #15 Very Good, Steve Ditko art, Horror, Charlton Comics 1970


GHOST MANOR #15 Very Good, Steve Ditko art, Horror, Charlton Comics 1970


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Luna Brothers Signed Girls Poster/Horror/Image Comics


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GHOST MANOR #16 Very Good, Steve Ditko art, Horror, Charlton Comics 1971


GHOST MANOR #16 Very Good, Steve Ditko art, Horror, Charlton Comics 1971


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VAMPIRELLA 27 9.2 NM 1973 WARREN HORROR HIGH GRADE


VAMPIRELLA 27 9.2 NM 1973 WARREN HORROR HIGH GRADE


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GHOST MANOR Vol 2 #13 Very Fine, Steve Ditko art, Horror, Charlton Comics 1972


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