Matthias Lehmann, Stripburger 47 Under the razor
blade Most of us will agree
that among
the contemporary comic strip artists, Matthias Lehmann is one of the
greatest
masters of the scratchboard. The
most enthusiastic admirers claim he draws the most beautiful women
since
Georges Pichard. A less know fact is that his fingers, somewhat stiff
from the
mentioned technique, do magic with several string instruments,
preferably in
the rhythms of old-time country, blues or bluegrass, for which he is
quite the
expert. It is unnecessary to point out that Matthias, this issue's Profile,
is
one of the honorary authors. He was interviewed by J.K. In your comics, as well
as in some
of your works of art (paintings, scratchboards), you're quite open
about the
Brazilian side of your cultural heritage: mythological creatures like
the boitatá roam the highlands of
Minas Gerais in the Brazilian interior. Was this tradition a part of
your
upbringing or did you
develop interest in it later? It’s always been there. My mother is
Brazilian, my father
French. My sisters and I were all born in France. My mother, who has
never been
particularly happy living in this country, found it very important to
transfer
her culture to us. So it is a part of us and I was always fond of its
folkloric
aspect. But in my twenties, I started to feel the urge to learn more
about this
culture, because I had never felt a real connection with my origins. I
had to
get closer to it. I studied folklore and came across mysterious
characters like
the boitatá and sassi pereré
– the latter is my true obsession (and probably also
for a lot of Brazilians and Portuguese as well as other artists). I
would read
Monteiro Lobato's tales and look for Guignard's great renderings of
Minas
Gerais. Artistically speaking, the abundance of mythology is very
inspiring;
this popular culture has a peculiar bizarre twist, which would, in my
opinion,
have great difficulty permeating French culture. However, I think most
people
of mixed origin feel similar. You never feel like the kids in the
country where
you were born and raised – there are so many obstacles like the
language or
even food that make you different. On the other hand, you can never be
like the
kids in your parent's country simply because you don't live there. You
have to
grow your own roots; it takes time and causes a lot of difficulties. I
guess
this is why HWY115 is set in such an
undefined place; in my latest books things definitely take place in
France. My
mixed origin is a blessing and a curse at the same time. Apart from the Brazilian
counterparts
to this music, musica
caipira and sertaneja, you
are
known to be a big
fan (heck, a connoisseur would be a better term!)
of
old-time country,
bluegrass, and blues. You also play several
string instruments. There
are quite a number of cartoonists like
Crumb and Ware involved in this music more or less seriously. How do
you
explain this phenomenon? Nervous fingers or
something deeper? I wish I were a
connoisseur! I can't speak for anybody else, but I think there are
several
possible explanations: first, a certain rejection of contemporariness.
Second,
it's easier for a cartoonist, who is quite used to loneliness, to
identify with
musicians that sing about it most of the time, and who are said to be
more or
less the same (which in fact isn't true, because women love musicians).
Third,
through music, they secretly hope that playing will transform them from
lonely
cartoonists into seductive musicians. Fourth, this music is great and
the
cartoonists you mentioned have great taste. Fifth, these genres and
especially
ragtime (like in the case of Chris Ware who really is a ragtime expert)
have a
rhythmic feature in common with comics: syncopation. But I’m glad that
you
pointed out the "nervous fingers" phenomenon, because I feel them
often. You know other cartoonists tend to turn into compulsive
masturbators; you just have to do something with your hands!
Just by trying out different techniques.
First, I
experimented with linocut and woodcut and then I switched to
scratchboard.
Somehow, it was love at first sight – I also enjoyed its noisy aspect: scratch scratch scratch. It was also
great because I felt like I could imitate Charles Burns' famous shadow
lines.
What was I thinking?? I was such a huge Burns fan. Then I discovered
Thomas Ott
and Marc Caro. In fact, the first comic book done in scratchboard I
ever saw
was Caro's In Vitro. I borrowed it
from the library when I was about eleven, and back then, it was the
strangest
thing I had ever seen. Artists like Scott Gillis, Brad Teare, and
Pascal Doury,
who has had such a strong influence on me, led me to believe I could
create an
entire book using this technique. They ruined my life.
I'm afraid not. I have been to the theater twice this year only because people I know were performing. But it is true that I’m interested in the construction of a play. The manner of writing is the same as my scenarios: stage directions and dialogues. The rest is a matter of "directing." I wanted to put some theatricality into “Gumbo” because, in a way, it creates a distance from the plot, which is very ordinary: a dinner between friends, nothing original. I guess the theatricality is also inherent to the behind-closed-doors aspect of the story. Now, if I really wanted to brag about theater, I would tell you that when I was a kid, I used to live in the town where Samuel Beckett lived. I never saw him, though. There was also a very famous catch player from that town but now I'm changing the subject...
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