Does this means Luke Pearson has arrived?
The April 22, 2013 edition of The New Yorker magazine features a lovely cover illustration by the British artist.
— Eirian Chapman (@eirianchapman) April 15, 2013
His work has also appeared in Wired magazine (see right).
I’ve been a fan of Pearson’s comics work since stumbling upon them at TCAF in 2011. That’s where I picked up Hildafolk, published by Nobrow Ltd. under their ’17×23′ line. These books are a bit shorter than your typical comic book floppy format. They are (or at least were) part of Nobrow’s graphic short story project designed to introduce young graphic novellists to a wider audience.
Pearson’s Hilda character evolved and he produced a longer and larger format book, Hilda and The Midnight Giant, which is a fantastic all-ages story. (He’s since published Hilda and The Bird Parade, on my “want” list.) An earlier book of his that also sits on my bookshelf, Everything We Miss, is interesting as a study in contrasts to his recent books. An interesting read, I don’t love it like I do his later work. You can tell here this is a young artist flexing his muscles, exploring emotional territory. It tries to be “real” while weaving in some fantastical notions. It’s a breakup story. Need I say more?
“People over here [in England] say we’re in a Golden Age of comics. It seems like we’re always on the cusp of breaking into something and there’re so many different kinds of comic artists now,” says Luke Pearson the artist behind the cover of this week’s Journeys issue, “Now Boarding.”
Pearson is a rising star at Nobrow, a nearly five-year-old publisher with a store and gallery in the heart of Shoreditch, a gentrifying neighborhood in Northeast London. (Nobrow’s name was in part inspired by John Seabrook’s 1999 article in this magazine.) Pearson recalls his début at the press with fondness:
“I first submitted something to Nobrow in 2010, in my last year of university, for their twenty-four-page booklet 17×23 series. They had just created that series, especially to give an outlet to people who have never done a comic before. They—Alex Spiro, Sam Arthur—are printmakers, who love art, prints, and books, and all their books revel in the fact that they’re printed objects. Most are printed with a limited palette of UV spot colors, which encourages flat-looking, simplified, vintage-like graphics, as opposed to something more photographic. It gives the work a retro look that I like—but they are flexible, and I always felt like I could do what I wanted. I didn’t create my character Hilda by trying to fit into their style—it was born in my sketchbook. And my books might be the first they did without the spot color process. They’ve been super good to me and it’s a great working relationship.”
Follow the link for more of Pearson’s published comic work.