“In my work, I always try to arrive at a new level of capacity. To do that, you must be ready spiritually. When I arrive at that level, there is a fear. You have to break your knowledge to arrive at that level.”
Lorenzo Mattotti is one of my favorite artists (and cartoonists and illustrators), so it was a thrill to sit down to record with him during Toronto Comic Arts Festival! We talked about his newest book, Hansel and Gretel, how a trip to Patagonia led to a new phase of his art, and why he decided to become a cartoonist instead of a painter (while making his rep in fashion illustration). Give it a listen!
“I’m always curious to look back at my early work, because sometimes I’m so depressed and so lost that I need to go back and say, ‘Look at this! You were able to do that! Go on!’ And sometimes I look at my work and think it was another person who did that.”
We talk about the interaction between his comics, paintings, and commercial illustration work, the thread of transformation myths in his comics, how he’s learned to improvise after mastering a controlled style, why he prefers working with writers over writing stories by himself, what fashion taught him about technique and glamour, his “poor parents'” reaction to his comics, his need to find new artistic challenges, how he does those amazing New Yorker covers, who he’s reading, and more!
“[Pinocchio] became a laboratory of imagination. I see how I can return to it year after year and make new interpretations of it.”
About our Guest
Lorenzo Mattotti is a highly sought-after illustrator (with frequent appearances in and on The New Yorker) and acclaimed graphic novelist. His books include Fires, Murmur, Works, Pinocchio, Dr. Jekyll & Mr. Hyde, Stigmata, The Raven (with Lou Reed), The Crackle of the Frost, and his newest book, Hansel and Gretel (with Neil Gaiman). In addition to his comics and illustration work, Lorenzo Mattotti is a highly respected multi-disciplinary artist, from reinterpreting reinterpreting the models of the most famous fashion designers for “Vanity” magazine, to designing the title sequences for the film “Eros” by Wong Kar-wai, to directing an animated version of his work in the animation anthology “Fears of the Dark.” He lives in Paris, France with his wife Rina and their two children. His wife owns and runs Galerie Martel.
Credits: This episode’s music is Optical Sound by Human Expression. The conversation was recorded at the Toronto Marriott Bloor Yorkville on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Mattotti by me.
“I’ve read enough Roland Barthes and Foucault to know it’s all fiction, man.”
Richard Gehr’s new book, I Only Read It for the Cartoons: The New Yorker’s Most Brilliantly Twisted Artists (Amazon/New Harvest), profiles a dozen New Yorker cartoonists. We talk about the genesis of that project, lament the dearth of cartooning in print and online, bond over Abe Vigoda, and ponder why it is that so many New Yorker cartoonists had teachers or educators for parents. We also get into Richard’s history in the arts-journalism racket, the joys of Robert Walser, his time in the Boy Scouts with Matt Groening, how he built a career out of his oddball enthusiasms, and the most mind-blowing “Which celebrity did you totally melt down around?” story in the history of this podcast. (Seriously.) Give it a listen!
“I love New Yorker cartoons, but they might be the whitest form of art ever conceived.”
About our Guest
Richard Gehr has been writing about music, culture, and travel for quite a while. He has been an editor for the Los Angeles Reader, Spin, and Sonicnet/MTV Interactive. He currently writes for Rolling Stone, Spin, The Village Voice, Relix, AARP: The Magazine, and other publications. He was a senior writer for the book Alt. Culture: An A-To-Z Guide to the ’90S – Underground, Online, and Over-The-Counter and co-authored The Phish Book with the Vermont quartet. His new book is I Only Read It for the Cartoons: The New Yorker’s Most Brilliantly Twisted Artists. He resides in the Brooklyn arrondissement.
Credits: This episode’s music is Homesickness by Tsegue-Maryam Guebrou (because I’m on the road for a week). The conversation was recorded at Mr. Gehr’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on the same setup in a hotel room in San Diego, when my voice was shot from a three-day podcast-athon in Los Angeles. Processing was done in Audacity and Garage Band. Photo of Mr. Gehr by me.