Art versus reality – The Electric Sublime #1

The Electric Sublime #1,

W. Maxwell Prince, Martin Morazzo, Mat Lopes,

IDW

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I really enjoyed W Maxwell Prince’s unusual, thoughtful and intriguing Judas: the Last Days back in early 2015 (reviewed here), and Morazzo I was familiar with from the fascinating Great Pacific (first volume reviewed here), so I’ve been looking forward to this. We open with a guide conducting a tour through the Louvre in Paris, leading them towards that great museum and gallery’s crowning glory, La Jaconde – da Vinci’s Mona Lisa, and vainly trying to persuade the flocks of tourists to put away their cameras and phones and instead actually look at all this art with their eyes, and, please, no flash photography, it isn’t good for the art (a long-lost war, I fear, tourists from every nation stand right in front of priceless paintings flashing away without a care in their heads, sadly).

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But their tour ends abruptly – something is wrong, very, very wrong. La Joconde still has her enigmatic smile on her small painting (it’s remarkable when you see it in person just how small this most famous artwork actually is), but now, somehow, she is winking at her admirers. The art guide runs, shocked, from the scene shouting “we’re going to need the Dreampainter! We’re going to need Art Brut!” The latter turns out to be an actual painter – in an asylum – called Arthur Brut, a nice little bit of word-play on an artistic term. Director Margot Breslin of the Bureau of Artistic Integrity has come to see this strange man, “dreampainting” in his padded cell. On various medications and art therapy, he seems to be out of touch with reality, mind warped by artistic excesses, unanchored in the real world, drifting, sifting, exploring the imaginary (some especially nice touches by Morazzo here, the way the asylum is almost monochrome, the colours so subdued, except for the vibrant art Brut is creating).

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But Breslin is desperate and even this seemingly wrecked psyche could be of some help, he may, in his fractured, kaleidoscope lensed view of the world have more understanding of what is going on than her team. Because it isn’t just that the most famous painting in history has suddenly, inexplicably altered to depict a winking Mona Lisa, there have been numerous other incidents around the entire globe, suicides, bombings, in one memorably horrific incident a couple who cast their own children in bronze, literally, killing them as well as transforming them into art, “claiming Neo-Dada conventions as their only defence.” And in each case a very simple image was found, the same image at each scene, in different nations, continents, a very simple line drawing of a human face, winking… Meanwhile we are also introduced to a young woman with a troubled child, Dylan, taking him to a new therapy home where art is used to help youngsters with mental health issues. There may be a connection growing here to what is happening in the wider world.

I really don’t want to say too much more about this first issue because I’m trying to tapdance around any potential spoiler landmines. And also because this is one of those stories that while I can summarise it a bit for review purposes to give you a rough idea, it is only the very roughest, this is really one of those works that you simply need to experience. It is only a first issue, so we’re only getting the briefest glimpse into what promises to be an unusual tale, but already it is pretty darned compelling – the idea of taking notions of what constitutes art, how we make it, how we react to it, the power it has, are all fascinating (as is the idea of using an artform – here the comic – to explore other ideas of art), and it reminded me in the good way of Doom Patrol-era Grant Morrison. Art has always been connected with ideas of power and even magic – even our oldest artworks, cave paintings some thirty to forty millennia old evoke not just our visual senses and our emotional states, they whisper of magic, of somehow capturing and conveying the power or essence of something else. And there’s also the sense of life within some art, or sometimes whole vistas of alternative realities.

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It is strange how sometimes the universe throws up variations on closely related themes around the same time, occasionally. In recent months I’ve been reading Shaun Simon and Mike Allred’s Art Ops for Vertigo (first issue reviewed here), and just in the last few days I have been lucky enough to be reading an advance copy of China Mieville’s next novel, The Last Days of Paris (out from Picador in February, James and I will be doing a joint review/discussion of it in the near future), in which resistance fighters in occupied Paris also interact with and use Surrealist art manifested into the real world in the desperate fight, the Surrealist art and manifesto being invoked like magical summonings almost. And then this first issue of Electric Sublime arrived on my desk… Of course all three would have been created by those different creators around the same time, without knowledge of the others, and by coincidence they would appear within a year or so of one another. Perhaps the art world is tapping on our window and trying to tell us something…

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This review was originally penned for the Forbidden Planet Blog

Review: Great Pacific Volume 1

This review was originally penned for the Forbidden Planet Blog:

Great Pacific Volume 1 : Trashed!
Joe Harris, Martin Morazzo
Image Comics

Chas Worthington, the mega rich young heir to an enormous oil fortune, known for his womanising, his extreme sports hobbies and other wealthy pastimes. The Great Pacific Gyre, a rotation of currents that creates a relatively stable spot in the vast ocean currents, where gargantuan amounts of (mostly plastic) garbage flushed into the seas slowly accumulates over years. What does this rich young man and a gigantic, floating garbage patch have in common? What about claiming it as a new sovereign nation?

Chas may lead the playboy lifestyle expected of someone in his position, but behind the scenes he has been deviously out-manoeuvring the treacherous board of directors of his own firm (who want to take more control from him following his father’s death), funnelling vast funds into a secret tech project to do with altering the physicality of plastics and planning to get necessary equipment to the garbage patch, while also making contacts in various governments with strong UN presences who he can ask to help international law recognise his claim to set up the floating plastic continent as a legal country with sovereign state rights.

In lesser hands this could be a pretty straightforward (and clichéd) tale of rich boy who has guilt because his inherited wealth came from hugely polluting industry and wants to make amends. Joe Harris and Martin Morazzo, however, offer up a more complex and satisfying tale. Chas is not a stereotype – yes, he has done the ‘rich kid stuff’, yes, he feels guilt over his wealth coming from polluting exploitation of the world’s resources, but he’s no eco-warrior. He has multiple reasons for what he is doing, only some of which start to become apparent in this first volume. Some are indeed driven by ecological concerns, although he has seen enough of the big corporate world to know they will only back necessary changes if there is a lot of money to be made in it, hence his secretly developed new tech. Other reasons may well include the need to stand out and be his own man, make something by and of himself, not what was handed to him as a rich heir. And he’s not always likeable either, cutting others short, assuming his best friend and assistant will follow him (and not thinking too much about how much he is asking him to risk, without really telling him why) and he is impulsive, his Texan blood making him perhaps too quick on the trigger (which will have consequences).

It’s not a simple plan though; however much he thinks he has prepared and done all the relevant research, this is still something no-one has ever attempted, after all. And then there are complications you don’t expect – pirates seeking hidden WMDs, the intervention of the US government, both legally and militarily, a mysterious group of Pacific islanders who seem to have settled somehow on the garbage patch. And then there is a gigantic Octopus, which the islanders think may be a sort of god, with which he starts to form a strange relationship. The massive floating garbage patches in the gyres of the ocean were first predicted in the late 80s and are now scientific fact (see here for more), although Harris takes some science fictional liberties with it for dramatic purposes, such as making it large and solid enough to walk on and even build upon a little (very carefully!).This also allows Morazzo’s art (which at time reminds me, in a good way, of the Luna Brothers) to depict some spectacularly weird, alien landscape.

But it’s a fascinating premise, a driven and complicated young man playing at both ecology and international politics and corporate business at the same time, in a setting which only exists because of our civilisation’s own wastefulness of material and uncaring methods of disposing of our unwanted rubbish. Clever and intriguing, drawing on several contemporary global concerns, not least pollution of our environment, exploitation of dwindling resources, divisions of wealth, power and influence and corporate-goverment interests and powers (or abuses thereof). This took a very different path from what I originally thought it might be, which pleased me no end (I love when a storyteller throws me a curve ball and hits be some something I wasn’t expecting) and I’m looking forward to the second volume. Plus, y’know, it had pirates and a giant (and perhaps intelligent and aware?) octopus, what’s not to like?!