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Woodrow PhoenixWoodrow PhoenixBack | Genres | Bibliography | Author statement | Further reading on this site | Contact details | Related links | Printer-friendly version  
BiographyWoodrow Phoenix is a writer, artist, illustrator and graphic designer based in London. He is known for his free-wheeling experimentation with illustrative and graphic styles, with message-driven pictures offering up an incongruous mix of the cute and the sinister.
His children's books include Baz the Biz (1999) and Is That Your Dog? (2001) with writer Steve May, and Count Milkula (2006) with writer Robin Price.
   
  Genres (in alphabetical order)Children, Essays, Fiction, Graphic Novels, Illustration, Literary journalism, Non-fiction     BibliographyIt's Dark in London (contributor) Serpent's Tail, 1997 Baz the Biz (with Steve May) Mammoth, 1999 Eager Beaver (with Ian Carney) Slab-o-Concrete Publications, 1999 Sugar Buzz: Live at Budokan (with Ian Carney) Slab-o-Concrete Publications, 1999 The Slab-o-Concrete Inactivity Book (with Craig Cohen) Slab-o-Concrete Publications, 2000 Is That Your Dog? (with Steve May) Mammoth, 2001 Reading Lights (contributor) Gaskell, 2001 Where's It At Sugar Kat: The Thin of the Land (with Ian Carney) SLG Publishing, 2002 Kitsune Tales (with Andi Watson) SLG Publishing, 2003 Sugar Buzz: Your Ticket to Happiness (with Ian Carney) SLG Publishing, 2005 The Brighton Book (contributor) Myriad Editions, 2005 Count Milkula (with Robin Price) Mogzilla, 2006 Plastic Culture: How Japanese Toys Conquered the World Kodansha Europe, 2006 Rumble Strip Myriad Editions, 2008 For Cultural Purposes Only (film - contributor) Animate Projects, 2009  
  Author statementThe magical quality of the drawn image (ideogram, logo, cartoon, diagram) and the way in which reductive marks can somehow add up to more than just lines fascinates me. A drawing brings a new reality to life which can have incredible resonance considering how simple the tools are. In a way all comics drawing is metaphor, is symbols made into characters. Cartoons and caricatures are ways to reconfigure information. They capture emotion. They represent what is unseen, they 'look how things feel'. I believe there are still huge areas of potential untapped in the comics form, partly because the subject matter has been so constrained by commercial demands that neither creators nor readers were able to imagine where the form could be expanded.
I am concerned with finding new ways to make the invisible visible. To bring to conscious attention so much of what passes unseen and unquestioned in everyday life. To examine the ideas that get taken for granted and perhaps find a different way to see what might seem exhausted. Sometimes this just means finding a new way to draw something. Other times it may mean finding a new way to present information. My most recent book, Rumble Strip, uses no characters at all and addresses the reader directly through narrative captions. This approach has not been previously used in a comic book, as far as I know. It seems odd at first but eliminating the fictional construct of a protagonist leads to a more direct and far more visceral experience. Many readers who have little familiarity with the comics medium have been surprised by how effectively this works. As a non-fiction technique it has all kinds of possibilities and it is one direction that I will continue to explore.
   
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