Chris Ware

Chris Ware
Franklin Christenson "Chris" Ware, is an American cartoonist known for his Acme Novelty Library seriesand the graphic novels Jimmy Corrigan, the Smartest Kid on Earthand Building Stories. His works explore themes of social isolation, emotional torment and depression. He tends to use a vivid color palette and realistic, meticulous detail. His lettering and images are often elaborate and sometimes evoke the ragtime era or another early 20th-century American design style...
NationalityAmerican
ProfessionArtist
Date of Birth28 December 1967
CountryUnited States of America
There seems to be such a laziness in - and I hate to use this phrase - the modern world. Everything is pumped out so quickly so that you can read it while passing by, like billboards or those flashcards before movie shows.
Ragtime has about the same amount of respect as comics. And in a way they're similar art forms. Ragtime is highly compositional, and the emotion in the music is built in, whereas in jazz a lot of that emotion comes from the way it's performed.
When I was a kid, I liked books that just seemed so dense you could lose yourself in them for a whole afternoon. They were like their own whole world.
When I was 11 years old, I thought, 'All I really wanna be able to do is my own comic book,' and I'm doing it. I don't have any other real ambitions. I have nothing to conquer at all.
The first thing I do when I get up is I look out the window. I've been looking at the same image for six years. It's imprinted in my mind like an afterimage template.
Lately, I can't shake the feeling that I've been living a dream for the last 10 years or so; I can't account for most of my 20s, and I have to continually remind myself that certain people are dead now and many of my friends have children.
I wanted to make comics that get at feelings that connect to the deepest moments of our lives, reading Tolstoy, Flaubert, Flannery O'Connor, Herman Melville, William Faulkner, Vladimir Nabokov and Carver to help gain the confidence to figure it out. I knew, however, the most doomed approach would be to simply create stories that felt 'literary.'
There seems to be a peculiar kind of clamor for comics. And I'm not sure how much a part of reality that is. I think partly it's based on some idea that comics are what everybody wants to read - and I don't think that's the case.
My wife has joked that if anything ever happened to me, she'd gladly live out her life without anyone else around. I think it bugs her I'm home all the time; such is the life cycle of the cartoonist, however.
I'm only trying to present as honest a portrayal of the grimness of human ambition as I can. I'd hope it's rather uplifting, actually, since I find the sort of blind optimism and empty laughter of a great deal of "contemporary culture" to be more depressing than something that admits to a potential for disappointment and a gnawing sense of existential mockery.
I think cartooning gets at, and re-creates on the page, some sixth sense ... in a way no other medium can.
I guess I just don't like being physically in front of people I don't know very well, because I expect to be "seen through," or, even worse, instantly hated.
The thing I like most about books is that anybody can afford them. They have an innate valuelessness.
I don't trust art that promises a 24-hour joyride. In fact, there seems to be a modern sense of entitlement for such constant "ups," which is a repugnant attitude any way one chooses to look at it. I definitely believe in the possibility of happiness, though; it's just something that I think, rightfully, is rare in its genuine form, and that it can't be counterfeited.