Phoebe Gloeckner Quotes

• The more you expose, the less personal it becomes

  Phoebe Gloeckner

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• It's much better for an artist to know everything than to be limited by ignorance.

  Phoebe Gloeckner

  Ignorance, Artist

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• I am aware of existing in a nearly constant state of inner turmoil and argument. I become frustrated with my work when the solution to a creative impasse seems like a secret I don't want to tell myself. It's not that I lose faith in my work - I'm fairly certain the answers are there, but much of my energy is spent beating my psyche into revealing them.

  Phoebe Gloeckner

  Creative, Frustrated, Secret

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Oddly enough, I suppose, I don't give much thought to my style, and I don't attempt to be consistent - except within a story. You ask if I struggled to find my style. It seems to me that style - in other words, a way of thinking and doing things - is innate. You can try to will it to be different, but it's like a signature - you can't change its fundamental nature.

  Phoebe Gloeckner

  Thinking, Giving, Style

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• The only way to know everything is to learn how to think, how to ask questions, how to navigate the world. Students must learn how to teach themselves to use new tools, how to talk to unfamiliar people, and basically how to be brave.

  Phoebe Gloeckner

  Thinking, People, Brave

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Comics are a "young" art form, and there is much confusion as to how to treat them. Images have more immediate impact than words, and it is not every reader who can be convinced to relax into experiencing the work for what it is - not words and pictures, but a different form, where the narrative is propelled by the blending of image, word and sequence, and where no element can be extricated and have the same meaning by itself. When this art is shown in a gallery, its "thingness" is called to attention, it is no longer experienced as "story," but rather as an artifact of the artist's process.

  Phoebe Gloeckner

  Art, Confusion, Relax

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• An artist's work is a synthesis of much more than the work of other creators.

  Phoebe Gloeckner

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Describiría mi vida interior como una vigilancia constante, siempre lista para huir o responder con violencia. Me siento así desde que era pequeña. Aunque a menudo es bastante divertido, a veces es agotador vivir conmigo mismo, y cuando estoy cansado y agobiado, me deprimo mucho. Si no puedo trabajar durante mucho tiempo, empiezo a cuestionarme mi propósito en esta tierra y si merezco vivir o no. Cuando miro a otras personas, tengo la sensación de que viven consigo mismas con mucha más gracia.

  Phoebe Gloeckner

  Children, Tired, Long

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• I didn't struggle to find my style - I prefer to call it "voice," because I think the word is more suggestive of complexity, implying quality of form and content. I do, however, struggle with making my work "work," and there's no predicting whether this can be achieved calmly or with a ferocious evisceration of the psyche.

  Phoebe Gloeckner

  Struggle, Thinking, Style

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Un personaje parece tener vida propia, pero tengo con él lo que yo describiría como una relación muy fluida: a medida que pienso en cómo será, entra y sale de mi foco, es una proyección de alguna idea que llevo dentro, incluso si un personaje está inspirado en una persona real, soy muy consciente de que no es esa persona. Mi trabajo consiste en identificar la esencia del personaje y darle vida el tiempo suficiente para que cometa los actos, diga las palabras o simplemente "sea" de una manera que le permita afectar y ser afectado por otros elementos y acontecimientos del mundo imaginario de una historia.

  Phoebe Gloeckner

  Carácter, Pensamiento, Largo

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• It always seems to people that I'm avoiding saying, 'It's autobiographical,' but I really do believe that human beings make stories and they make themselves. If I told you the same story twelve years ago, I could have emphasized something different. The importance changes, the meaning of things shifts over time. Also, I think all art is autobiographical. Every endeavor is full of impressions of ourselves.

  Phoebe Gloeckner

  Arte, Creer, Pensar

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• I don't like to be constrained to any one medium. I like to surprise and amuse - and indeed, torture - myself by weaving back and forth between images and words of all sorts, and trying to create work in the end that feels "of a piece." This is why I resist calling myself a "cartoonist." It doesn't seem to describe what I do.

  Phoebe Gloeckner

  Trying, Surprise, Torture

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• I'm not at all a linear thinker. I know the feeling I want to convey, but the form is what I struggle to find. I'm sure I'd fail if I tried to write a grant proposal or a book proposal.

  Phoebe Gloeckner

  Lucha, Libro, Escritura

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• I don't think it's possible to teach a person to be an artist. But yet, I'm here, and I suppose this is what I'm expected to do. I teach a course called graphic narrative and one called digital studios, but no matter the topic, the basic principle underlying my "method" of teaching is that a properly prepared artist/creator must simply know everything. Not just how to draw, but how to see. Not just how to use a computer program, but what the word "penultimate" means. And the shape and orientation of a goat's pupil. And where Kentucky and Chile are, at least approximately.

  Phoebe Gloeckner

  Teaching, Mean, Artist

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Paso bastante tiempo pensando en mis alumnos. Los miro, miro su trabajo, escucho lo que me dicen e intento imaginarme en quiénes podrían convertirse en el mejor de los mundos posibles. No es fácil. Los alumnos intentan darte pistas; a veces te miran como implorándote que comprendas algo sobre ellos que aún no tienen los medios para articular. ¿Cómo se puede tener éxito en esto? ¿Y cómo hacerlo 20 veces con todos los alumnos de una clase? Es imposible, por supuesto. Lo sé, pero lo intento. Es agotador.

  Phoebe Gloeckner

  Media, Pensar, Dar

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Most comics are not truly rebellious or creatively free. Most comics, paintings, music, etc., are derivative of other, more successful works. And it's quite often that those without much rebellious spirit are the ones to imitate it. Genuine radical expression is hard to come by, but it usually crops up when money is not a motivating factor. You can take all the liberties you want when someone else's dime is not at stake. The validation is not a threat to comics. A far greater threat to the creative freedom of artists working in any medium is self-consciousness and self-censorship.

  Phoebe Gloeckner

  Successful, Artist, Creative

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Whatever they are, can Comics be "Art"? Of course they can. The "Art" in a piece is something independent of genre, form, or material. My feeling is that most paintings, most films, most music, most literature and, indeed, most comics fail as "Art." A masterpiece in any genre, form or material is equally "good." It's ridiculous to impose a hierarchy of value on art. The division between high and low art is one that cannot be defended because it has no correlation to aesthetic response.

  Phoebe Gloeckner

  Art, Independent, Feelings

  "Interviews: On Cartooning". "POV", www.pbs.org.

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• Underground comics were striking in that they seemed largely unedited - in a typical book, with stories by five to ten creators, some stories would be shockingly bad, and others would be startlingly brilliant. This was a lively and exciting combination. The artwork and stories, good and bad, were all so different - I'd stare at the pages and lose track of time. This was a world where anything could happen, and I wanted to go there.

  Phoebe Gloeckner

  Book, Track, Different

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• Underground comics were produced by individuals - they were the auteur variety, rather than the production-line sort of comic book aimed at pleasing a vast general audience. Mainstream comics never appealed to me: they seemed sterile in their stylistic consistency, and were quickly consumed, the stories interesting only for so long as you were reading them.

  Phoebe Gloeckner

  Libro, Lectura, Largo

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