Brecht Evens (* ) ist ein belgischer Comic-Autor. Biographie[Bearbeiten | Quelltext bearbeiten]. Sein Debüt als Comiczeichner gab Brecht Evens mit. Brecht Evens, the award-winning author of The Wrong Place and The Making Of, returns with an unsettling graphic novel about a little girl and her imaginary. Der Zeichner Brecht Evens ist einer der grossen Impulsgeber des zeitgenössischen Comics. Mit kontrastreichen, farbsatten Aquarellen.
Brecht Evens - Night AnimalsBrecht Evens, geboren , lebt als Comiczeichner, Illustrator und Musiker in Gent. Mit “Ergens waar je niet will zijn” gelang ihm der internationale Durchbruch. Brecht Evens [ Belgien, Frankreich ]. Der belgische Comic-Autor Brecht Evens wurde in Hasselt geboren. Er studierte Illustration an der Luca School of Arts. Vor 10 Jahren erscheint Brecht Evens erste Graphic Novel «Am falschen Ort» und sorgt weitherum für Furore. Evens begeistert mit der eigenwilligen.
Brecht Evens Subscribe to our newsletter VideoBrecht Evens. Night Animals
RTL braucht allerdings noch ein bisschen - und Brecht Evens wird mal wieder klar, nachdem er um Kurkumamilch Minuten geschnitten worden war. - Fasnacht 2021Die Führung mit
Evens is a member of Pulp de Luxe, a comics collective that specializes in adult comics. After winning a comics debut prize from the Flemish guild of comics artists V.
In , he made his second book, 'Vincent', published by Oogachtend. This critically acclaimed book deals with a boy who wrests himself from his home village and his parents to study in Dublin.
It came with a soundtrack by the Dutch popgrop SUB. In , his graphic novel 'Ergens waar je niet wil zijn' was published, a tale about social relations.
In his book 'Panter' he hints at the subject of child abuse in a story about a girl and a mysterious man called Panter, who shows up from her wardrobe.
This was the first of its kind in France. On 29 September Evens designed a mural in De Oever in Antwerp, between the Hoogstraat and Kloosterstraat, as part of the local Comics Route.
In Evens received the Debuutprijs of the Vlaamse Onafhankelijke Stripgilde for 'Een Boodschap Uit De Ruimte'. His 'Koenraad' won the Grote Prijs voor de Kortstrip later the Plastieken Plunk for Best Short Comics Story.
It's a visual tour-de-force that's clearly keen to burst all boundaries. The book contains not just Evens' trademark watercolor but also pages made with several lithographic methods.
Its graphic invention, almost dizzying, is refreshing for its utter tirelessness. Navigating by taxi lights, pearls in the dark and nightclub mirrors, the pages sweep the reader through a crowded city between dusk and dawn.
For this single night, its narrative follows three characters and a large supporting cast. The book's protagonists, Jona, Rodolphe, and Victoria, might have come out of a film by John Cassavetes — only over many pages do we sense who each might be.
As with Evens' Panther , whose title character brought yellow into the story, Les Rigoles is color-coded: each protagonist has a single primary hue.
Things begin as Jona, who is drawn in blue, sets out for a final night on the town. Everything he owns is packed since, in the morning, he moves to Berlin.
Victoria drawn in yellow begins her night surrounded by her self-appointed protectors. Then there's Rodolphe, whose signature is red.
Once a king of the dance floor, he now suffers from depression. His Paris aerie is tiny and sits atop a hill. To reach it, you have to climb seven flights of stairs.
There's no elevator but Evens does enjoy a grand view of Paris. Surrounded by piles of papers and shoes, we're seated there today.
For the artist, it's a pause between almost continuous signings. Les Rigoles is on display in every Paris bookshop and its Dutch twin, Het Amusement , has just debuted.
In a week, Evens' art is also going on show. The artist resembles one of the Three Musketeers — or he would if one of that well-fed trio was a beanpole.
Although his presence on the Internet is a large one, it doesn't really capture his goofiness or his erudition.
The artist answers questions slowly and thoughtfully and is an attentive, highly articulate speaker. As his French editor puts it, "His imagination is very rich and complex, very cultivated… and he knows exactly how to put that across in his work.
Evens' last publication was Paris, the Vuitton art book. In producing its images, he referred to just a handful of photographs.
All were taken in the crowded Passage des Panoramas, to help the artist replicate its chock-a-block signage. His results were stunning: a riot of color and observation that privileged views, signs and details familiar to actual locals.
Vuitton's press handout hailed the work for its "fertile chaos" and Evens describes the project as "a playground". But, in fact, the chaos had been all too real.
Back in , as he was making Panther , Evens' life was suddenly derailed by a mental crisis. He was not meant to do the book on Paris; his initial contract with Vuitton was for Tokyo.
During my recuperation, I spent time in Paris. I was finishing Panther and wasn't in great shape. Yet this was where Les Rigoles got its start. A state of depression never carries any potential or interest.
Then, once the interest starts returning — bit by bit — it's like you're back at zero. At that point, it's just lines in old sketchbooks, dreams you have, something you happen to see sitting on a terrace.
Because it's so surprising to have ideas again, you notice every little thought and you get them down in a sketchbook.
In and early , he says, "things were so messed up; I couldn't ever have considered such a massive project. The book is a product of peace having descended.
The biggest thing that happened during its making was the girlfriend I found. Having one important book and one important woman, it became much simpler for me to prioritize.
But, in terms of what I actually wanted from the project, there was no big sea-change. The book has clear inspirations. One of these is Paris the city, the place where Evens moved four years back "on an impulse.
The artist sees Les Rigoles as his debut's "big brother. So I decided I would lay them on thick… I repeated some of the images, pretty much using a ruler.
He tilts the screen of his laptop towards me and, on the left, there's a page from The Wrong Place. It shows the book's protagonist, Robbie, leading a conga line across the floor of 'Disco Harem.
This time, I know from having read Les Rigoles , the dancing is a memory. But the character right behind Rodolphe is … Robbie. If I superficially accentuated their resemblance, it was just to make those differences pop out.
The Wrong Place was an anticipatory book; it has the vision of nightlife I dreaming up then. Because I was 22 and, from a year-old, it was a cynical book.
If some places haven't changed, they are seen from a new perspective. This time, I wanted the endless place to be that city around it. Les Rigoles is indeed a big idea and, from the start, it had a cast to match.
Where countless characters just appear and disappear and we don't have the time to follow their paths. But the hypothetical cast of a thousand characters narrowed down.
Some of those got fused together and others disappeared. Some were relegated to extra status while others came to the fore.
But I had a lot of fun with secondary characters. Because they don't have to represent so much, you owe them less…you can relax a bit and go a little wild.
The basic conceit, however, never changed: Evens was aiming to put a world between two covers. But, instead of just one city, I wanted to make it a kind of European amalgam.
For, despite seemingly effortless shifts of style and character, Les Rigoles was planned with a military precision. As it expanded, so did Evens' key resource — his heavily annotated pile of black-and-white storyboards.
These, he says, were realized "very unchronologically. I like to do it when the creation of something is fresh. But this time, especially with the big set-piece drawings, I often had a sketch I carried around, fleshing it out with little details and phrases.
It could take a year, it could take two years…because I always knew that more was going to be added. I didn't want fancy graphic vignettes that might interrupt the narrative.
Plot had to go on and character needed to continue and they had to be fully part of that. For the restaurant in the book, where much of the action happens, he made a precise floor plan.
Because all three of the main characters start their story here and it's two hundred pages before the last one leaves.
So it needed to have a sense of knowing where you were. The reader won't notice that there's a program, that I mapped everything out. But, as long as we're in that restaurant, they'll have an unconscious sense of knowing where they are, of feeling somehow moored.
When he plonks the well-worn stack of storyboards in front of me, I'm impressed. It's a big pile that has to weigh five or six pounds.
But Evens says he kept it with him every minute, every day. The strategy, although cumbersome, helped him avoid "long detours and mistakes".
It was especially useful since his narrative ricochets between three characters. So what I sometimes did was take this pile of papers, then re-arrange it by character… Just to check out what might happen with a different narrative arc.
Or I would read it again to see how the characters alternated, to think about how this choice or that one might alter the rhythm. The method also served to discipline his graphic facility.
I had some pages with these escalating chains of adventure, all these escapades that we were going to see him have.
They were very attractive occasions for graphic showmanship and they were making eyes at me for literally years … Come on, draw me — it's gonna be fun!
But all those, at some point, got stripped away. I replaced them with a little personal theme, one that better captures the rapport between a manic person and the people close to him.
Over the four years it took him to create the book, there were many side projects. For the fortieth birthday of his French publisher, Actes Sud, Evens executed a fresque in a never-ending pattern.
For the Flemish Literature Fund, he made a map of lyrical poetry. There was a mural that went up Brussels this is his second mural; Antwerp already had one.
Halfway through , the in-progress Les Rigoles was also shown at Brussels' Millennium Iconoclast Museum of Art or MIMA. The new book was written in Dutch and French, "with a few scenes in English.
Where the computer comes in is for research; when I want things to be 'right' or inspired by actual stuff, then I'll look something up.Brecht Evens ist ein belgischer Comic-Autor. Brecht Evens «Les Rigoles» Actes Sud Courtesy Galerie Martel Paris. Vor 10 Jahren erscheint Brecht Evens erste Graphic Novel «Am falschen Ort» und. Brecht Evens (* ) ist ein belgischer Comic-Autor. Biographie[Bearbeiten | Quelltext bearbeiten]. Sein Debüt als Comiczeichner gab Brecht Evens mit. Brecht Evens, geboren , lebt als Comiczeichner, Illustrator und Musiker in Gent. Mit “Ergens waar je niet will zijn” gelang ihm der internationale Durchbruch.