NOW CURATING: YOMI
s t r e e t a r t i s t
Roberta Fallon’s reviews and features have appeared in the Philadelphia Inquirer, Philadelphia Daily News, Philadelphia Weekly, artnet, Art on Paper, Art Review and elsewhere. From 1999-2011, she was the art critic for Philadelphia Weekly writing a weekly column of criticism and features, and from 2000-2005 she wrote the Philadelphia Story column for artnet.com. In 2003, she co-founded The Artblog, which has been recognized for excellence twice by Art in America, and was a finalist for the prestigious Warhol/Creative Capital Arts Writers Award. It is also one of Philadelphia’s most well-known and prized arts publications.
-Julius Ferraro, Curate This co-founder
Beth Heinly is a leader in the alternative arts community in Philadelphia. She’s talented, opinionated and original. No matter what she’s working on—comics, a performance art piece, an exhibition or her experimental performance art festival, Beth works from her life and her passions. As a member of two important alternative galleries—Little Berlin and Vox Populi—she has curated and shown work by herself and others. Her interest in science led to a wonderful art and science exhibit at Little Berlin; as a collector of art, she curated a memorable collections show at Vox Populi; as a zine maker and collector, she organized a zine library at Little Berlin that now is archived at Temple University Libraries.
On Artblog, I am on the receiving end of Beth’s funny and wise The 3:00 Book comic. Every Monday I anticipate Beth’s comic with the same eagerness I feel when cracking open a fortune cookie—I’m looking for a pun, a bon mot, some wise words. While a fortune cookie rarely lives up to my hopes, Beth’s comics deliver. Sometimes salty, sometimes sweet and always beautifully composed, Beth’s comics reverberate.
The 3:00 Book has a Charlie Brown innocence but without the sugar coating. Both Peanuts and The 3:00 Book praise the simple things in life. For Beth, there’s a good sandwich, her cat Zion, and vacuuming (yes, actually). For Charlie Brown, there’s baseball and his dog Snoopy.
The 3:00 Book characters (a thinly-veiled Beth, her boyfriend, and a naïve, snobby girl with curly hair) can be biting and mean or sweet as pie. No matter which extreme, the encounters ring true and come from someone who’s a student of human behavior and has been on the giving and receiving end of some fraught exchanges.
Drawn in a beautiful and reductivist style that’s satisfying for its clean lines and generous white space, Beth’s comics are complete art—from concept to execution. I highly recommend you take a look. Watch for her Open Call Guerilla Outdoor Performance Festival (OCGOPF) this summer in Rittenhouse Square and Collins Park. And here’s some of her other work.
Here are a dozen of my favorite The 3:00 Book comics. The titles are mine, not the artist’s.
Trying to please people and how that sometimes works out
Being a killjoy
Being a killjoy 2
Failure of imagination
Facing facts in a relationship
The lure of pretending
I met Mike Jackson back in 2011 when he started to hang out and draw at Indy Hall. We were the only artist/illustrators there at the time that were actively creating and drawing.
In April of 2013 I produced his solo show, Fast, for a Catcher, where he filled the entire gallery with artwork and stories surrounding his love of baseball. Since then, Mike and I have produced art shows, collaborated on pieces, painted giant murals ,and have encouraged each other to continue to live our lives as creators.
As my drawing mentor, he is constantly encouraging me to settle for nothing but my best. Mike wants everybody to be at their best so he can share the incredible things that people are capable of.
This is why I chose to interview my friend, teacher and collaborator to find out where this incredible execution of colors and lines came from and the stories he is telling with them.
-Sean Martorana, curator
SM: Tell me the story of your earliest art and design influences.
MJ: My grandfather saw that I had an interest in drawing. He sat down with me one Saturday night and showed me how to draw a convertible in one point perspective. I remember him specifically saying “. . . and you can add a little fella in there, and then you can draw a sidewalk and he’s looking at a pretty girl at the stop light. You can just keep adding and adding to this.” This was the first time that I got permission to keep building.
I also remember drawing Batman in the frost on the bus in first grade. I did a different super hero every morning. I knew they were going to the next public school when they dropped us off. So I was leaving something behind to build a legend.
It didn’t work. I was not a legend. But my Batman got tighter.
Was there a moment when you really decided you wanted to focus on illustration full time?
I felt like everybody in grade school was the best at something. For some reason I thought I was the best of the best if I could draw really well. I wanted to be known as “the drawing guy.”
In the third grade there was a girl who took art lessons on Saturdays and I remember thinking, “I can’t afford art lessons.” I thought she was going to be better than me and I was going to lose “my thing.” She stopped taking lessons but I kept drawing because I really liked being the best.
Then I went to art school, at University of the Arts, because I figured this is what I’m good at and it’s worth pursuing. I didn’t know I had to know what I wanted to do with it. Art school was just the next logical step.
You have a very strong style that you have crafted over time. It’s your hand, your signature. Was there a specific moment you started to find this approach?
College is when I got introduced to line. Up until then I was just trying to draw as realistically as possible. Then there was this girl in college and her renderings were beautiful. Untouchable. So I thought, ok, I’m going to have to figure out a signature. Otherwise I will just be reaching for something that I am good at, and she’s just better.
There was a class with teacher by name of Roger Roth. He encouraged that every week we draw differently. That is the first time I started thinking about bringing a voice to illustration.
He also introduced me to David Stone Martin and Al Hirschfeld, and from there I started drawing with line.
I find your lines to be very animated. They are very loose but sophisticated and intentional. Is there something in your style of line that helps tell the story of the people you draw?
Usually I try to tell as much story with as little line as possible. The more line I have, the closer I get to rendering, and I am trying to get as far away from that as possible but still pass some kind of recognition onto the viewer.
One thing I appreciate with your lines is that they are so tight. In contrast, your color is not as clean. Is there a reason your color is so much looser in its execution than your lines?
Recently I’ve tried not to paint but to apply color. Color adds depth beyond the line . . . which is fun. I want people to have a smile even if it’s just internal. I want them to feel better about something when looking at my work.
Since you like to capture moments and tell stories of incredible people, is there one particular story that stands out to you?
One would be the Kinetic Sculpture Derby piece. It was just a summarization of this day that I had. We went to the Trenton Avenue Arts Festival and were walking up to Frankford Avenue as these people showed up. It was absurd and wonderful I thought if this isn’t the best gateway for telling this day I don’t know what is.
Just two people covered in balloons.
After watching a parade of a viking ship that had 18 people peddling, which is amazing, then these guys were just wearing balloons. It was this simple display of absurdity that I appreciated.
This was a lot of fun because it is simple. The color is exactly what I wanted to do. It’s just an application of color that ended up emphasizing the story.
Is there a subject you are currently interested in?
I have been drawing the theater around Philadelphia. It’s a thing, which doesn’t get much attention, that I can add my voice to. In my world it doesn’t have a prominent voice. When I get together with my friends we talk about the Phillies.
I feel like it’s completely wide open to do what I want. I really don’t know of many people drawing the theater right now. So it seems like the wild west.
I’ve only been doing it for about 5 months but it’s gotten me into some really great shows and it’s another thing to bounce my drawings off of. I go see what other people are capable of doing and how can I show that through what I am capable of doing.
It’s been really great seeing how much work goes into a production, and then can I do it justice.
It’s so much fun.
Ok, final question, because I could go on and on. Do you have any bucket list projects, mediums or things you would like to see your career?
To be a part of a community where I am a respected influence in the community. That will be cool.
The biggest thing, which is why I do all of it, all these little tiny things, add up to the fact that I want to have been a prolific illustrator who supported himself and his family through illustration.
I also want people to say “If Mike didn’t draw it, it didn’t matter.”
Wait. One more question. Can you capture this interview in one of your daily drawings?
All images by Mike Jackson. Figure drawing from a live model is from the personal collection of Sean Martorana.
Eamon is a Philly cartoonist born and bred who draws his best cartoons in bars. He is also a podcaster on the Highlander Rewatched podcast. I became familiar with his work at a show put on by Philadelphia artist collective, Phantom Hand, and have been a fan ever since. His comics are witty and intelligent, much like the man himself. I approached Eamon about illustrating a Tip Jar piece because I admire his work and genuinely wanted to get some of his advice on how to be wildly successful as an artist! Luckily he’s sharing it with all of us. Thanks Eamon! Here are some more ways to see his work: Instagram & Twitter @eamonbdoc / Tumblr eamondoc.tublr.com
-Kelly Kozma, curator