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febrero 10, 2017

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illustration

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Jean Pierre Gibrat

Jean-Pierre Gibrat is a French comic artist and scriptwriter. Born on the 14th of April 1954 in Paris, France. His first complete stories were published in the French magazine Pilote. With Jackie Berroyer, he took on le petit Goudard in 1978, a series which he continued in the same year in Charlie Mensuel, then in Fluide Glacial in 1980. During this time, some of his artwork was also published in the press : l'Evénement du jeudi, le Nouvel Obs, Sciences et Avenir and he also produced work for Okapi and Je bouquine. In late 1982, he pencilled La Parisienne in Pilote, again on a script by Berroyer. In 1985, on Saval's texts, Gibrat drew, in Télé Poche, l'Empire sous la mer, an adventure starring the canine character Zaza, created by Dany Saval and Michel Drucker. In October 1997, the graphic novel Le sursis was released, followed by volume 2 in September 1999, Le vol du Corbeau in 2002 and its second volume in 2005; all of which were published by Dupuis.

Faces

Harding Meyer paints faces, just faces, but the first thing one notices is their eyes. They are at the center of the 46-year-old artist's work; they are its core element. They catch the viewer's eye; they literally force him into the picture. The neck of the portrayed persons is cut off and their hairline is barely visible. The viewer hardly can avoid those eyes and he is unable to interrupt communications. This makes Meyer's art so powerful.

Villa Kaplansky

The house, located just outside Antwerp in Belgium, was originally designed by the architect Nachman Kaplansky in 1934. It was then dramatically rebuilt in 1962. Fast forward to the 2000’s and it’s been given the B-architecten treatment. They turfed out all remnants of the 60’s hotchpot design and brought the house back to it’s former 1930’s grandeur, reinforcing if you will the original vision Kaplansky had for the Bauhaus villa. Essentially nothing remained of the original interior that Kaplanksy designed. So the big job was to restore the original volume that would have been found within the villa and that meant gutting everything within. It was that sense of scale and space that gave the home its 1930’s grandeur.

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