Stand Still

Jeremy Scott
Stand Still - Jeremy Scott


Stand Still: A Gallery Comic, can best be described as the culmination of my time and work here at Brandon University. Stand Still, the idea, was originally written as a short story for a creative writing class in 2004. Then, in 2006, the story was adapted into the comic book format for a bookmaking project in another class. I feel as though Stand Still has been with me, in one form or another, throughout the duration of my time at BU, so, in 2007, when choosing a topic for my Thesis Exhibition, it seemed only fitting that I continue Stand Still and expand it into yet another format; the gallery walls.

While the story is always an important part of a comic book it is not necessarily involved with the concept of this show as a whole. The story, however, does play a specific role as an example of what comic books can be. That is to say, comic books are not all superheroes in spandex saving the world. The comic book of today is more like television and cinema than ever in that there is something out there for everyone. The flip side of that coin tells me that this particular story will not be for some. The violence depicted in this story is not something that I take lightly. However, what takes place within these pages is not about the violence, nor do I think it glorifies it in any way, shape or form. This is a story about the actions of a man thrown into an extraordinary circumstance and the consequences that those actions create.

The comic book is, of course, nothing new to the fine art world. I believe, however, that you would be hard pressed to find many other instances of a comic book presented, from first page to last, in the public forum that is the art gallery.

By placing the pages on the walls of the gallery I am turning the comic book itself into an environment where you literally must walk through the story. The viewer has the choice to back away or step in for a closer look, to move through the story quickly or slowly, or to simply turn around and leave. Much like a traditional comic book, this work is still very much in the viewer’s hands.

I am presenting the viewer with a comic book created in different mediums and sizes. The smallest being a traditional printed comic page and the largest being 6 foot by 4 foot multi-paneled oil paintings. While these pages may differ in size and medium, the original line work holds true throughout. The line work acts as a skeletal system for the work and no matter how I choose to paint or what scale I choose to work at, the line work always holds it together.

I am using these different mediums and sizes as a way of asking the question: What does it take for you to view a comic book as art? Perhaps the large scale oil paintings are art, while the small printed pages are not. Perhaps the comic book itself, as it sits on the shelf in the local shop, is already a work of art that need not be tampered with. It is this choice that belongs to the viewer and it is this choice that interests me the most.

Maybe the comic book will always be viewed as lowbrow art no matter how hard anybody tries to say otherwise. If that’s the case then colour me lowbrow.

For more information, please visit Jeremy Scott's Website