“The book form is well suited to the black and white images I create whether it be linoleum prints, woodblock prints or paper cuts” | Q&A with Illustrator Alec Dempster

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For those of us in today’s era who still admire book, we truly love the detail, the time and the craft of the printed page. And that admiration counts for both writers and illustrators. Alec Dempster has created a series of woodcuts to illustrate JonArno Lawson’s newest collection of poetry – called The Hobo’s Crowbar – and agreed to answer a few questions for me. The Hobo’s Crowbar will be released by The Porcupine’s Quill in October, 2016.

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1) How long did it take you to do the woodcuts for The Hobo’s Crowbar? JonArno Lawson stated in a Q&A for me he was amazed by your work for the book. Was it an easy task to create images for his poems?

I spent several months creating the images.  Because I was working on another illustration project at the same time, working on music for Palo Dado my new band (Link to their Facebook page here), as well as my work for Lula Music and Arts Centre (Link here) it is hard to say exactly how long it took . I spend about two of three days on each image. Some time is also spent preparing the woodblocks. In this case a friend of mine who is a luthier had some spare offcuts of veneer from another project and he helped me glue them to particle board. It wasn’t the ideal material but I managed to make it work for me and the result is a series of images that are unlike any other I have made. The fact that I was free to choose which poems to illustrate from a large selection made it easier. I found the poems that evoked an image in me and that I could connect to personally in some way. I wouldn’t say that is was easy but I had a lot of freedom to create which made a big difference.

 

2) According to your website, this will be your sixth book that you have been involved with. (Including another book with JonArno Lawson.) Is publishing and illustrating something you enjoy doing?

Each book project I have worked on has been thoroughly enjoyable and very different. The book form is well suited to the black and white images I create whether it be linoleum prints, woodblock prints or paper cuts. As opposed to showing the work in a gallery for a month or so, the images in the book continue to circulate for much longer.

3) Will you be exhibiting the works from The Hobo’s Crowbar in any way? Will copies from the cuts be available for purchasing?

The prints are being shown till the end of August in Mandrágora Galería y Taller in Metepec, Mexico. (Link to their Facebook page) They are for sale and I am looking for somewhere to show the work in Toronto. Other venues are most welcome.

4) Are there artists that you admire for their technique? If yes, who are they and why?

The artists that I admire are good technicians but for me technique is a given. I am more interested in what an artist has to communicate. A few of the fellow printmakers I admire are Sergio Sánchez Santamaria,  Daniel González, Mazatl, Joel Rendón and Demian Flores. Except for Mazatl, I know them all and that makes a difference to my appreciation of the work because I understand something about where they are from and where they create. There are many more artists I admire.

5) Are you working on  anything new right now? If yes, are there details you care to share?

I am working on a new series of illustrations for a book by Hubert Malina for Pluralia Ediciones in Mexico. (Link to their website (in Spanish)) Hubert writes in Mè’ phàà a language spoken in the mountains of the state of Guerrero and in Nicaragua. The book is part of a series of Mexican indigenous poets writing in different languages. It is an honour to be part of the series.

6) You seem to have an active online presence on the social-media platforms life Facebook and Twitter? How do you you like using these applications in relation to your work?

Facebook is useful for promoting events although it hasn’t been very useful in terms of selling my work. I haven’t understood the usefulness of Twitter so you could say I have given up on it. Instagram seems to be used a lot by visual artists and I am giving it a try.  (Link to Alec Dempster’s Instagram page)

 

7) You have been travelling quite a bit for your work but where is your studio located right now? Is it in a city or region that inspires you for your work?

My provisional studio is located in Toronto. I wouldn’t say that Toronto inspires my artwork but living here has given me a form of stability that allows me to focus on my artwork when I have time to allot to sitting down to create. When I lived in Mexico I was able to dedicate longer periods to work on art projects exclusively. Here I am constantly juggling time and occupations. Toronto is an inspiring place musically and my musical projects have fed on the diversity of excellent musicians that live here.

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