Still Life

The Book
Pinky is a recluse who rarely leaves the suburbs. When her husband Pasha goes missing, everyone assumes the worst, but she sets off to find him. In her search, she encounters a dream-like landscape: the ancient interior of the city she was born in; the bright farms and fields of Pasha's childhood and the dark wilderness of the mountains. She must finally confront her fears. Still life: A Graphic Novel is an experiment with visual storytelling, using pictures and words to create a world that is unsettling and extraordinary. Part road trip, part existential thriller, it seeks new ways to look at love, isolation, memory and loss, asking what connects us to each other and to the natural world, and how we are governed by impulses we barely understand.

The Inspiration
I’ve loved to draw and paint since I was a kid. It’s been a constant companion to me. With Still Life I wanted to try something new, and I felt that the graphic novel form might be able to accommodate diverse influences, from literature, art, music and even cinema. Originally the book was more abstract, but the story itself soon overtook me and demanded illustrative elements. I was certain, though, that I wanted to remain true to the simplicity of pencils, paints and paper, and allow the text to have its own life.   

One of the main ideas I wanted to explore was how we relate to each other and to the outside world, and the natural world. Visually, I wanted to convey some of the beauty of the places I remember from childhood. Someone I know said the book is full of mystery, and that’s probably the driving force.

The Inspiration
I’ve loved to draw and paint since I was a kid. It’s been a constant companion to me. With Still Life I wanted to try something new, and I felt that the graphic novel form might be able to accommodate diverse influences, from literature, art, music and even cinema. Originally the book was more abstract, but the story itself soon overtook me and demanded illustrative elements. I was certain, though, that I wanted to remain true to the simplicity of pencils, paints and paper, and allow the text to have its own life.   

One of the main ideas I wanted to explore was how we relate to each other and to the outside world, and the natural world. Visually, I wanted to convey some of the beauty of the places I remember from childhood. Someone I know said the book is full of mystery, and that’s probably the driving force.

The Process
Headphones and music really help me to disappear into the work. For the graphic novel stuff I use lovely textured A4 paper, with pencils, watercolours and acrylics. I’m drawn to the contrast and minimalism of black and white. As I finish each page I add the text, which has been percolating while I’m drawing or painting. Also, the main challenge, although minor, was wrestling with Photoshop.

The Pandemic and Beyond
We’re under full lockdown for the third time right now, and the daily figures are pretty bleak. On a personal level, things haven’t gotten very bad, like they have for so many people. I’m lucky enough to have daily walks in the woods with my dog, in the mist or the sunshine. And I’m working on another graphic novel on migration and memory.