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Geek Vibes Nation
20-06-2025
- Entertainment
- Geek Vibes Nation
GVN Talking Comics: Paul Pope On Upcoming NYC Gallery Exhibit At Philippe Labaune (Starts June 19)
When asked about his artistic legacy, renowned cartoonist and artist Paul Pope knew the impact he wanted to have: 'When I do something, I want it to be timeless,' says Pope. 'I don't want to chase the zeitgeist—I want to create something that will feel relevant in 10 or 20 years.' If you ask fans of his work and his contemporaries, Paul has achieved those goals and then some. To honor his artistic achievements, the Philippe Labaune Gallery in New York just opened The Paul Pope Exhibit in conjunction with Felix Comic Art. The exhibit will present original pieces from seminal comics, including Batman: Year 100, Battling Boy, THB, Heavy Liquid , alongside homages to European artists such as Hugo Pratt and Moebius. In addition, the exhibit will feature some of Paul's commercial art, including illustrations for the Jon Spencer Blues Explosion and The Grateful Dead, as well as some of Paul's more personal pieces. In advance of the Exhibit's opening, we were fortunate to catch up with the iconic artist to talk about his artistic beginnings, his self-published work, and the new exhibit. So we are honored to welcome Paul Pope to GVN Talking Comics. Creative Origins GVN: Thank you for sharing just a bit of your time, Paul. Since this is my first opportunity to chat with you, let's start with some of your creative background. When did you first take an interest in comic art and whose work inspired you to pursue it? PAUL: I was reading comics before I could actually read. I grew up in rural Ohio with my mom and later, my grandparents. My dad came back from hockey camp in Ontario one time with this massive slab of vivid color pictures in stacked boxes featuring outrageous and enticing characters with names like Doctor Doom and The Dreaded Dormammu. I was hooked. The stories were like complete heroes journeys cast in garish color amber, to be revisited time and time again. I'd say it was Jack Kirby and then Carl Barks (the 'good Donald Duck' artist, as he was called) who first lured me in. This was in the 70s. Comics were really hard to acquire back then, so I had that one collection, Bring On The Bad Guys from Marvel Comics, and later an issue of Kamandi and a few Disney comics. They seemed to come from their own pocket universes, unlike anything else I'd seen before. Self-Publishing GVN: As you developed your talent, you self-published some of your work through your own Horse Press, including Sin Titulo (1993) and The Ballad of Doctor Richardson (1994). What made you decide to start your own publishing concern, and did you seek any advice in doing so? PAUL: I was initially planning to be an art academic and part-time painter, like my first master artist, Pheoris West, whom I studied under at Ohio State University. We covered all the art fundamentals and I also studied art history. He was the one professor I had who was sympathetic to my ambitions to be a professional comic book artist, but he steered me to more traditional art fundamentals such as color theory, anatomy and composition. I broke into comics in the early '90s, when the self-publishing movement was gaining steam. Teenage Mutant Ninja Turtles was already huge. Jeff Smith's Bone was gaining traction, Mike Allred broke in, etc. I started working at a print shop to gain some experience and did my research and gradually made solid plans and contacts in the printing and distribution wings of the comics market. I didn't need much since I was in my early 20s and it was a good time to take risks. I read a lot of books on 'how to self-publish' and 'how to start your own company' and later met some older people in the industry who could give me good advice. A lot of it was just persistence and a dash of luck or timing. 'Chance favors the prepared mind,' as Louis Pasteur said. It's been one of my mottos since then. GVN: Eventually, you did work for numerous publishers, including Kodansha, Japan's manga publisher, First Second Books, DC, Marvel, Dark Horse, and so many others. Did your creative process change any when working for the 'mainstream' publishers as opposed to self-publishing your own stories? Working with the Audience in Mind PAUL: Not really, actually. The main challenge was that the editors required full scripts or story treatments. Before I started working with Kodansha and DC Comics (sometimes with Marvel and elsewhere), I had no editorial input at all. I just made it all up, and whatever seemed right made it to print, warts and all. I was–and am–mindful that the 'mainstream' audience might require a more detailed or rendered style, they may not want vague or experimental comics. So I try to work with the audience in mind and tell a story which hits all the quadrants, but hits it well above the bullseye. Even with something like Batman Year 100, I tried to make a legitimate and fresh Batman GN, but do it in a new or surprising way. Keeping Awards in Perspective GVN: Over the years, your work has garnered the appreciation of fans and critics as well as some of comics most prestigious awards. Did you ever feel that the recognition you earned somehow validated your approach and hard work, or are you a creator who feels like you worked for your own satisfaction, and what recognition came from that was just a bonus? PAUL: I like what Nick Cave said when he refused the MTV Music Award for Best Artist in 1996 – 'My muse is not a horse.' The awards are a sign that people value your work, but you can't throw your arms around an award and an award won't pay the bills. Honestly, the real rewards come at around 2 am when you're alone in your studio and you did a perfect page or a page which surprises and delights you, knowing it won't be seen for months or maybe years. It takes years to complete a graphic novel. It's a long haul. So the award must essentially be internal. The Paul Pope Exhibit GVN: Speaking of recognition, starting next month, New York City's renowned Philippe Labaune Gallery, along with Felix Comic Art, will host a career-spanning exhibit of your work. How did this opportunity come about, and how hard did they have to sell you on the idea of displaying your impressive breadth of work? PAUL: Honestly, if it wasn't for my girlfriend Neha this show wouldn't have come about. She was the one who mentioned to Philippe that we ought to collaborate. We were at the Will Eisner exhibit Philippe hosted months ago, and they just started talking. I am sort of a shy person, actually, so I'd have not suggested it. Philippe offered the chance and we just rolled with it. The timing is really good, though, since my 2nd monograph PULPHOPE2 just came out. So this is the official book launch for the project and a lot of the work in the show is from the book itself. GVN: When it came to decide what pieces to display, did you have complete control over that or did you work with the Gallery and Felix Comic Art to decide the direction the exhibition would take? PAUL: It was ultimately Philippe's decision, he knows his market and what will bring people into the gallery. I think I brought about twice as much work as we finally decided upon. It's a very good cross-selection of my work stretching almost 30 years, unbelievably. In conjunction with my art rep Felix Lu, they set prices and decided which pieces made the final cut. I think people will be happy to see the originals up close and personal. Most of this work has never been shown publicly. Viewer Takeaways GVN: This show will go from Thursday, June 19th, through Saturday, July 26th. By the end of the show, what would you hope that those who visit will take away from the exhibit? PAUL: Well, I chose the name 'pulphope' for a reason– we work in pulp fiction and print on cheap paper, we make mass produced disposable pamphlets and paperbacks, but within the lines and words we can contain the greatest ideas or impulses an artist can express. I want people to be inspired by the work and see an example of what you can make happen if you have a stubborn refusal to give up on a dream and you continually keep questioning and searching. When I see original art, I get inspired to work harder. Recently Philippe exhibited pages by Guido Crepax, one of my all-time art heroes. It was very moving and life-affirming. I hope this exhibit can offer that to somebody, in its own humble way. Upcoming Projects GVN: Thank you once again for your time, Paul. Before I let you go, please remind our readers about this great exhibit and any other projects you might have upcoming. PAUL: Thank you! My next book release is the first of the multi-book series, Total THB, collecting over 1000 pages of my 'lost' science fiction epic. Book one is out November 2025. I'm also working on finishing Battling Boy 2. When that is collected into one volume, it'll be over 500 pages. These things take a long time to make! Felix Lu and I also plan to open a new private commission list later this year. I like staying busy. If you are in the New York area and are a fan of Paul's work, you can't go wrong in visiting this exhibit. The Paul Pope Exhibit will be open to the public from Thursday, June 19th, until Saturday, July 26th. The Philippe Labaune gallery is located at 534 West 24th Street in New York and is open from Thursday through Saturday, from 10am to 6pm. The roots of Philippe Labaune Gallery have a strong European influence: among the artists are esteemed creators such as Lorenzo Mattotti, Nicolas de Crécy, Guido Crepax, Dave Mckean or François Schuiten. In recent years, American artists such as Landis Blair, Rebecca Leveille Guay, Mike Mignola, Frank Miller, and Peter de Sève have helped Philippe Labaune Gallery to foster a community of overlapping art collectors and comic fans from all over the world.
Geek Vibes Nation
10-06-2025
- Entertainment
- Geek Vibes Nation
GVN Talking Comics: Tyler Kirkham On The Marvel Art of Tyler Kirkham From Clover Press (Now on Kickstarter)
Artist Tyler Kirkham has showcased his talents with various publishers throughout his career, including Top Cow, Dynamite, Image, DC, and Marvel. Along the way, Tyler has been impressing fans and critics alike with his artistic skills. Currently, Tyler is teaming with Clover Press and Marvel with another addition to their quality art books, The Marvel Art of Tyler Kirkham. This collection has just started its Kickstarter Campaign. Before the launch of their campaign, we had a conversation with Tyler about his artistic beginnings, his initial work with Top Cow, his experiences at DC, and his new book for Clover Press. Join us in welcoming the talented artist Tyler Kirkham to GVN Talking Comics. Comics Introductions and Creative Beginnings GVN: Thank you for spending a bit of your time with us, Tyler. Since it is our good fortune to talk to you for the first time, let's start with your creative beginnings. When did you first take an interest in comic art, and whose work inspired that ambition? TYLER: Happy to do it! Let's go way back. I feel like comics have been a big part of my life for so long. I'm gonna guess second or third grade. Around then. My first interaction with comic books was from my older brother. He was growing a pretty decent-sized Spider-Man collection. He had them all hung up on his wall, and it really inspired me every time I saw them. Well, being the rebellious younger brother. I wanted to be different. Enter Wolverine and the X-Men! I was heavily inspired and tried to mimic Mark Texeira early on. When Image Comics came out, I knew I wanted to pursue comics. Art for Local Newspapers GVN: I've noticed that we share a common starting point: both of us began drawing for our local newspaper. However, our paths diverged from there. You had the opportunity to get your foot in the door at Top Cow Comics, while I found myself working in a retail store—though that's a story for another day! 😊 With that opportunity, you worked alongside Mark Silvestri and eventually secured a full-time position. What lessons did you learn during your time with Silvestri and Top Cow that have stayed with you? TYLER: Yeah, I was always doing something with art growing up. I actually drew for both Jr High and High school newspapers as well. Then got the gig at my local city newspaper. Marc had a treasure trove of useful info and tips. One thing I learned working under Marc was how helpful it was having other artists around, to learn form and inspire you. It pushes you to be better after you see what others are working on. I follow a lot of artists on social media now, and it has a similar effect. Art inspires art. A New Chapter at DC GVN: In time, you were offered an exclusive job at DC. When that opportunity came about, did you have any reservations about writing for such beloved and iconic characters, or were you more excited to have a steady source of work? TYLER: Well I was only doing the art. Not writing. I had already worked on multiple iconic characters for Marvel and Image/Top cow. So wasn't really worried. It was a new chapter for me though. Working on 'Final Boss' GVN: Along with Top Cow and DC, you have worked for just about every other mainstream publisher including Marvel and Dark Horse. As I have looked, you have done about every cool character there is to do with style. You have also tackled your own original series, Final Boss, with Ifansyah Noor. Is there a difference in working for established characters as opposed to working on your own? A freedom perhaps? TYLER: I really have been lucky to draw so many characters across multiple publishers! It's so fun tackling them and giving my spin on them. As far as Final Boss goes, it's been a very slow but rewarding experience. It's so fun creating! I love telling stories and building my own worlds. It's completely different than doing it for another publisher. Both are great in their own way. The Marvel Art of Tyler Kirkham GVN: Now let's talk about the recent announcement of your Clover Press Art book, The Marvel Art of Tyler Kirkham, joining such luminaries as Mike Allred, Russell Dauterman, David Mack, and others. How did this opportunity come about, and did they have to do much selling to you to make it happen? TYLER: It's an honor for sure! I was excited when they asked me. It really came down to me getting them the material to actually build the book. I took while to do that but in the end I'm super happy with the progress of the book I've seen so far. I think people will love it! Choosing the Art for the Book GVN: One only needs to visit your website to see the breadth of great work you have done, just for Marvel alone. How did you decide which of your pieces to put in the book, and did the good folks at Clover Press have any input? TYLER: I think I picked a good variety of my Marvel work. Not everything will be in there obviously. There will be a good mix of Marvel Art for sure from interiors to covers. Some behind the scenes stuff like prelims, pencils and inks were also sent in! Not just complete covers and pages. A good collection of work from across the years. The Kickstarter Campaign GVN: Clover Press will be bringing The Marvel Art of Tyler Kirkham to a Kickstarter campaign. Will this be your first crowdfunding effort and what will fans (like myself) find when they visit your campaign (besides a fantastic art book)? TYLER: I've done a few actually. My first was an art book years ago called Separation. I've also done a couple others. Children's books and Final Boss. I'm pretty familiar with the process. I'm leaning a lot on Clover though. They are pros in this and have had some amazing campaigns. So they are leading the way! Visiting the Campaign GVN: Thank you once again, Tyler. Before we conclude, I want to allow you to promote this book and any upcoming projects you have. TYLER: I think this book will have something for everyone in it. You don't just have to be a fan of mine to enjoy it but any Marvel or comic art fan will appreciate it. Clover builds beautiful books and they have a proven track record of quality products and successful crowdfunding campaigns. I think it's worth backing em! We will be offering some amazing rewards as well. Definitely don't miss it! Clover Press 'The Marvel Art of Tyler Kirkham' is now on Kickstarter. You can check out this exciting campaign here.
