Monthly Archives: July 2018

Barbarella By Justine… out now!

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From Dynamite comics… misspelled name and all… my Barbarella cover!

Barbarella Cover Justine Mara Andersen

Barbarella Cover Justine Mara Andersen

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Mara Page 2

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As I explained in the video, page 2 was in a sense a compare and contrast between the world of Mara’s DMT visions and her “reality.” The page was laid out with the same panel dimensions, and the top panels of both pages were meant to compositionally run parallel to each other.

So, I am showing them side by side below:

Side By SIde Justine's Mara Pages 1-2

Side By SIde Justine’s Mara Pages 1-2

I think in a sense this imagery is a meditation on how entwined the realities and dimensions we live in are, the reality and dimension of our fantasies, and that of our reality.

Yet there is MOST definitely a difference between fantasy and reality, something the political correctness movement has entirely lost track of. It amazes me how quickly people will assume things about an artist’s politics or philosophy based on the fantasies in their art. I was once asked (hell… not asked… ACCUSED) by an ass-kissing gallery owner about my erotic fantasy work, “What does this say about slavery? About women’s rights?” I said, “Uhm… nothing.” I am constantly astounded at how many people cannot tell fantasy from reality. Let’s face it, most of the stuff that happens to Mara I would not want to live through, but that has nothing to do with what I might fantasize about. Fantasies should never line up with ideology, if they do, then I think you have surrendered your imagination, or perhaps chained it, to your politics. Shame, isn’t it?

OK, rant over, Just for fun, and to show how page 1 and page 2 relate even more clearly, I have merged the two pages into one below:

Justine Mara Andersen New Mara Pages 1 - 2 Merge

Justine Mara Andersen New Mara Pages 1 – 2 Merge

To be honest, I don’t really have much of a feel for science fiction, too much technical stuff, I prefer the organic quality of fantasy, but for the story to work, Mara had to start out in a world in which she feels misfit, so I had to draw environments in which I feel misfit.

Whenever I draw science fiction, I tend to turn to Syd Mead for influence, the man who essentially designed Blade Runner. I turn to him not so much to copy, but to draw influence, I also turned to Roy G. Krenkel for influence, but I could not find the Krenkel in particular that influenced elements of this page.

Below I have included a fine example of a Syd Mead, a world I admire as an act of creation, but not a place in which I would want to spend any time, a place Mara is forced to exist in… at least for now.

And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=

Justine’s Site… Exciting NEW Content

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Hey Group, check out my site, an updated Home page, a new animation gallery, a new gallery of my Gainesville work (under “galleries”), and most exciting, an in depth look at my work in progress under “New Mara” (to be found under “categories” or in the top navigation bar), an enormous undertaking that will feature page by page videos and blogs about the process.

And I need help, artists need patrons, so check out my Patron site, too: https://www.patreon.com/barefootjustine

Mara Page 1 (& Classic Mara)

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Watch video above!

Old Mara Art

Old Mara Art

These entries are meant to compliment the on-camera video flip-through (TOP) I did with Tom Hart for the unfinished relaunch of my highly personal Mara comics series. At first we thought we might edit in close-ups and images from the artists that influenced me, but it seemed that a better treatment was to write accompanying blogs so the viewer can perhaps come in closer, or at least spend more time with the images I want to spotlight.

Before even going into the first page of the new Mara, I spent some time discussing “Classic Mara,” if something as utterly ignored and low-selling as my Mara can ever be considered “classic.”

Regardless, that old Mara project came from the heart, and it kept me “sane,” and drove me nuts at the same time… and kept me poor. But I felt I had something to say then, and then I thought it was important. Now, I have something to say, but being older… I no longer suffer from the delusion that it will be in any way “important.” As I often say, “I wanted to leave a mark, but I fear all I’ve left is a stain.” What kept me doing it even while it was being so utterly dismissed was that I had never seen anything like it. In other words, as familiar as I was with Exploitation Cinema, eroticism, and comics in that style, nothing sated my thirst, ONLY Mara did that. My unique vision was what kept me going.

Here she is, good old Mara! The image below was done about the time I had begun to burn out, it’s hard to believe now, but I abandoned this page because I thought it was lousy…

It ain’t!

Classic Unfinished Mara by Justine

Classic Unfinished Mara by Justine

The first page of the “New Mara” was inspired by my experiences with the psychedelic DMT, experiences which ended a couple years back. The problem with translating these experiences into art is that the DMT experience does not translate into the limitations of this reality. The DMT experience is not about seeing and hearing things, it’s more about BEING things. And worse, the DMT experience is a lot like having a handful of gold in the cave of wonders, gold that quickly turns to dust once you exit the cave.

How does one draw that which cannot be grasped, that which cannot be described or defined, or even remembered? About all an artist can do is try and recreate what the experience felt like.

I found the image below, and while it is not what I experienced, it came far closer than anything else I have seen. But imagine if the image below were in motion, the colors rotating, luminesce, and wholly immersive. All I could find to credit the artist was that it was done by “Beacon.”

I think if you look at the 2nd panel of the first page you will see that I did a variation on this image, but chose to reference the trunk of the Hindu deity Ganesh. Also note the floating circles and how they pan across all 6 of the lower panels.

Justine Mara Andersen's Mara Page 1 Detail

Justine Mara Andersen’s Mara Page 1 Detail

The grid underneath was intended to help me maintain symmetry, but I am thinking I might ink it in, it seems now to be a part of the drawing.

I was asked just yesterday if the DMT experience changed me for the better or for the worse. I stammered, and had to say that every action comes with consequences, some could be seen as positive, some as negative. All I know is that the changes have been profound and utterly irreversible. What I have learned from DMT has expanded me, and somewhat frightened me, it’s not something that should be undertaken lightly. Was it for the best or for the worst? I don’t know, but I don’t regret it.

And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=

Mara Intro.

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In this video I’m showing you how I live, where I work, and a little bit about who I am. Who is this madwoman creating Exploitation comics in this day and age? Just me… Justine Mara Andersen.

You’ll be seeing my room, my “psychedelic pad,” my “little slice of paradise.” Eclectic as the setting may be whenever I watch Bollywood movies in my room at night… the movies just seem to settle right into the decor, and at times it’s hard to tell where the movie ends and the room begins, especially when watching Sanjay Leela Bhansali films. At night, when the curtains are pulled, the room takes on an exotic magic that feels quite different from the vacation in paradise setting of the daylight hours.

And definitely the forest around my room has been integrated into the decor. The yellows and greens play about on the walls creating a seamlessness between the interior and exterior.

In fact, the below photo was taken directly from my room. My nearest neighbors are animals, deer, bald eagles, hawks, alligators, wild turkeys, and lots of little lizards and gorgeous green tree frogs.

I took this picture from my window, a great view right into the forest. (pic by Justine Mara Andersen)

Mara Medievalist (by Justine)

Mara Medievalist (by Justine)

And here, in this setting, in this room, is where I do my work, my drawing and my dreaming. In many ways, this relaunch of Mara seems like an exercise in madness.

Many might ask, why return to a project that was wholly ignored, sold poorly, and has been ultimately forgotten?

There is no logical answer, other than the one French exploitation director Jean Rollin gave me when I asked him why he kept creating under such adversity, he told me, if I don’t write or make films, I die.

When I began Mara back in 1989 (or so) I knew nothing about her or her world, nor did I know how to draw or tell a story. Of course the image above is from one of the last Mara books, and is quite accomplished, but in so many ways Mara has never left me. Even if the rest of the world chose to ignore her, and ignore me as an artist, she and I have always been one.

And even if many want to call me out for “sexualization” or being somehow anti-feminist for drawing good old fashioned romantic erotic fantasy, Exploitation, I no longer care because that, too is part of me. I don’t do this for money, I don’t do this because “sex sells,” or to be a “sell-out,” I do this because it’s the truth of who I am.

Be careful when judging a person’s art, when assuming their motives. Very often the anger of the viewer is the only lens through which they can see art that does not conform to their ideologies.

I guess if you don’t like Mara, you don’t like me, and you know what, that’s fine by me. As deep as I am into this incarnation, if I’ve learned anything, it’s that I no longer expect to be loved by all.

All I can do is love what I do and tell the truth, and let the chips fall where they may.

Oh, and funny note about the above Mara panel… that word balloon “I feel like a Victorian” was a direct reference to how dismissive David X Cohen was of my work when a friend delivered it to his desk in the hopes that I might be able to find work with the Simpsons (by the way, I had sent in cartooning samples, not just Mara), he tossed it aside and said, “It’s too Victorian.” Well like when Lennon said all McCartney did was write silly love songs and Paul wrote “Silly Love Songs” in response, I did the same here.

What’s so wrong with being Victorian anyway?

And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=