




It's uncanny that someone so young would have such an apparent recollection of the
history of comics, and the talent to expand upon it.
This is what a certain Mr. Art Spiegelman, author of the graphic novel masterpiece
Maus, thinks of Chris Ware.
You will have gathered that, with such an introduction, we are talking about no ordinary artist. And yet, the amazing thing is that Ware, by his own admission, has never found particular inspiration in comics published after the '30s.
According to this big Nebraska Boy from Omaha, born in 1967, after the ‘30s, comics stopped evolving their own distinctive features, becoming “fossilised”, so to speak, in an attempt to imitate film standards. Coming from an “ordinary” author, this might seem a bit retro, or even snobbish, but Ware does not make do with nostalgia for times gone by.
His plates take inspiration from the extraordinary creative and innovative drive of Winsor McCay, author of Little Nemo, from the precise, cutting humour of Charles Schulz in the first Peanuts strips, and from the art of Joseph Cornell and Frank King.
Ware’s are not simple "comics". They are architectural structures, inventions that explode beyond the two dimensions of the plate. And there are those who have constructed, seriously, cut-out models of the buildings, characters and objects that Ware includes in his works: take a look at the collection on the website http://www.niemworks.com/else/acmetoys.html.
As if this were not enough, in line with his philosophy of "experimental craftsman ", Ware works essentially by hand, using the computer from time to time to colour his precise drawings.
His stories do not develop according to the classic standards of sequences of vignettes; rather they are composed, guiding the eye in a visual journey, a conceptual experience.
His refined sense of humour and his lucid, disenchanted gaze have contributed to generating some of contemporary comics’ most irresistible, tragicomic characters, such as the super Super-Man, hair-raising parody of heroes in tights, or the collector of action figures Rusty Brown. Or even the delightful, tender-hearted Jimmy Corrigan, "the smartest kid on Earth", that (autobiographical?) sweet, sad and solitary kid with an extraordinarily imagination, who has earned for Ware countless awards, acknowledgements and acclaim from the critics, including a place in Time’s top ten best graphic novels of all time.
Not bad, for someone who says he never got past the '30s!
Romics celebrates this exceptional author with the Golden Romics Award at the 10th edition of the Comics Animation and Games Festival.
Chris Ware was born in Omaha, Nebraska, in 1967. His first works were published in the University of Texas newspaper, and were noticed by Art Spiegelman who called him for the anthological magazine RAW. Gaining self-confidence from his experience on the prestigious magazine, Ware, began publishing his Acme Novelty Library, considered one of the most important works in the field of indie comics.
Referring directly to the experimentalism of 1930s comics, to the graphic and narrative inventions of authors such as Winsor McCay and Charles M. Shulz, Ware developed his own style, with daring solutions, cut-out models, razor-sharp humour, upturning the common rules of narration.
Ware works both as vignette artist for some of America’s most famous newspapers like the Chicago Reader and Fortune (who refused to publish his cover for the 500th issue which they considered over-critical of the global political system), and as author of graphic novels, including Rusty Brown and, probably his best-known work, Jimmy Corrigan, the smartest kid on Earth.
Ware has been awarded numerous prizes and is acknowledged as one of the most important authors of the Ninth Art.