The role of emotions in modernity is an inquiry that many disciplines make. , for example, just published a book (Explosive modernity) In which it approaches it from sociology. It is about deciphering how we approach the experiences by invoking the emotional labels that are assigned to them. Illouz asks in what ways the modernity has been deployed in our emotional life. And he finds in the “novels, poems, plays or Netflix series” a cultural place where these experiences are best manifested between what is collective and what is personal. Well, Lleida’s muralist Lily Brick has chosen comics, murals, cartoon, vignette, animation … as cultural, artistic places, where to investigate their emotions. The one is said Emociations Il·Lustrata statement that, apart from its degree of compliance, is clear enough about intentions. Each chapter convenes an emotion (fear, joy, anger …). The result is a good, much, program on the art of illustration and several of its practitioners.
At first the naturalness of the driver is appreciated when making the exhibitions or talking with the artists. It is flat and goes facing the hut, talking about the program without the thematic excursions with other purposes. And it does this by avoiding entertaining postissues and audiovisual reclaiming. The guest payroll is solid. The cast shows that in Catalonia we do not chop with the elbow. The illustrators (Portbou’s suitcase), Ignasi Blanch (book and CD Live On), , Luci Gutiérrez (The New Yorker), (book of rabid memories Marón)Miguel Pang (The fabulous and spooky world of dreams and nightmares) or (vignettes ofThe country); the Grangel brothers (in animation cinema have worked for Tim Burton or Steven Spielberg), the Mingarro brothers (Brosmind Studio) or Laura Pérez (Solo Asesinatos credits in the building); Authors of comics such as Marika Vilas (Grand Prix of the Barcelona Comic Book Show) or Pasqual Ferry (DC Comics, Marvel); the painter and muralist Aryz, with work in different countries; Marc Torices (the Cornelius dog), (the comic book Bad smell) and emerging artists like Genie Espinosa (White shark) or the Marina Capdevila muralist …
A good, much, program on the art of illustration and several of its practitioners, with a solid payroll of guests
A particularly interesting section of the chapters is when one of the guests teaches how to work with a certain technique. It shows the craftsmanship of its art, its craft-although a digital terminal-, the intuition of a stroke, the choice of a color … gives more value to the final work, knowing what it requires to reach it. María Corte shows the technique of the steel. Blanca Martí does a scientific drawing exercise with Brick. Laia Arqueros teaches graphic printing with monotype. Matías Tolsà reveals secrets of the caricature and Clara-Iris Ramos, as traveling in the past, the cyclostil. Another section, brief and fast, gives references to works and bibliography. It is not an academic documentation. Its lightness seems to be intended to incite the viewer to approach the aforementioned work.
Brick has the great help of artists who verbalize reflections on their practice without pedantry or fears. For example, the writer Meritxell Martí and the illustrator Xavier Salomó explain that a terrifying forest can appear in a children’s book as long as there is an outlet: “We play with fear, but we do not generate anguish.” Míriam Bonastre (Hooky) emphasizes the importance of large eyes in manga aesthetics, “a genre very focused on showing feelings.” It stands out the reinvention made by the SRTA. Lylo of the embroidery, beyond the borders, and their relationship with the needles.
In short, a fresh, wise program, and good navigation that does not exhaust, impossible, the Catalan map of illustration, but that gives it a suggestive eye.
