Cast:
Violet Parr
from The Incredibles (©Disney/Pixar)
Kanako Ohno
from The Incredibles (©Disney/Pixar)
Kanako Ohno
from Genshiken (©Shimoku Kio)
Sakaki & Osaka
Sakaki & Osaka
from Azumanga Daioh (©Kiyohiko Azuma)
Tools:
Nikon D2X
Adobe Photoshop CS2
Ink & Graphite on medium-tooth drawing paper
Adobe Photoshop CS2
Ink & Graphite on medium-tooth drawing paper
Photographed at Colony Manor Apartments, Rochester Institute of Technology.
A wise man suggested never to aspire to meet one's childhood heroes. In my case they were all cartoons, and for reasons I still can't understand, our nighttime milieus were often frightening: Bugs Bunny once had to save me from an axe-wielding Daffy Duck while on the prowl in a derelict 7-Eleven. (No BS.) When I got my first taste of Japanese animation during puberty, when my mind and body were a seething cauldron of primal urges and insatiable longings, I went completely and irreversibly potty.
Likewise, when I started to organize meetings with these far more challenging characters, I found I was being slaughtered as much as I was loved upon. But in the world of dreams where continuity is broken and there is no real pain, I've lived, loved, fought, killed, and was myself very nearly killed countless times over the years. It's an interesting way of sailing the astral plain, like you're Connor MacLeod.
If nothing else, these and other fan-arts — original artwork by consumers of owned intellectual property — are expressions of love for a character or series, or celebrity or sports team or whatever intangible entity to which one can commit a fierce, heartbreaking, life-sucking and or pathetic loyalty.
I say it's the lifeblood of modern civilization.
GROUNDWORK
