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OWAG Track Light #2—> El Mordi (Mexico)

The “Track Light” series serves to briefly introduce a number of individuals involved
with the One World Artist Gallery (OWAG) from their various places around the globe.

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Today, I talk with illustrator and designer Jaime García (El Mordi).

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John: Hey Jaime, what’s up? I really dig the DrawBag you recently did.

Jaime: Thanks, John. It was a pleasure to collaborate with you.

John: As you know, the artists involved in the OWAG project are from all over the world. Can you tell us more about the design you drew?

Jaime: My illustration is basically a modern representation of a character from Mexican culture known as La Catrina, which represents death during El Día de Muertos (the Day of the Dead).

John: Now, you go by the name El Mordi, which is different than your birth name. How did that come about?

Jaime: It’s actually a cheesy story. My ex-girlfriend started calling me that after a phone call in which I was eating a sandwich. She asked what I was doing and I offered her a bite by using the first two syllables of the word “bite in Spanish which is “mordida. She thought it was funny for me to say “mordi,” and started calling me Mordi. Shortly after that we started calling each other by the name and I created a couple of characters which represented the two of us: “Mordi & Mordi”. From that moment on I started signing my artwork under this name.

Self-portrait by Jaime Garcia (El Mordi).

John: What were your first memories of art-making?

Jaime: I started drawing at a young age. One of my first teachers was my older brother. I remember drawing by his side… as a matter of fact, at the beginning I just used to copy his drawings. And I’ve been connected to that early way of expressing myself ever since.

John: That’s funny, I had the same experience with my older brother. And were there any working artists or illustrators that influenced you in your development over time?

Jaime: I like the work of contemporary artists such as Mark Ryden, James Jean, Alex Ross, Sachin Teng, just to name a few… because honestly, I really like a lot of artists.

John: I would say there’s a bit of tension in our world right now…

Jaime: Yes… I agree.

John: Are there any artists who are interacting with those tensions in a way that inspires you?

Jaime: There’s a lot of chaos in the world right now. I like to use creativity as a way to criticize political and moral aspects of society, and so Banksy’s work is an inspiration to me in that way.

John: What form is your own artwork taking these days?

Jaime: I’m currently freelancing with my art and before that I was fully into web design. But now as a freelancer I have been focusing on children’s illustrations. I like the world of children’s tales a lot.

John: And what about when you aren’t drawing..?

Jaime: I like watching movies, playing video games, and hanging out with my friends. The truth is I’m pretty ordinary in my interests. But what I enjoy the most by far is drawing and getting inspired by the artists I follow!

You can see more of El Mordi’s work on his website or follow him on Instagram.

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Reflections on Film & Memory

“In a certain sense the past is far more real, or at any rate more stable, more resilient than the present. The present slips and vanishes like sand between the fingers, acquiring material weight, only in its recollection.”

– Russian film-maker, Andrei Tarkovsky

 

Earlier this year I went to the Museum of the Moving Image in Astoria, Queens and spent some time there trying to imagine what it was like to live in a time before the invention of film, or during a time while it was still evolving (as it still is).

It turns out that’s as difficult a trick as trying to remember what one’s experience was before acquiring language.

A zoetrope.

As I walked through the many exhibitions at the museum, I reflected on how the ubiquitous nature of film in modern culture has us forget how remarkable a trick film actually is:

When watching a film, our memory and connecting of individual images (proceeding rapidly before us) creates a perception (or illusion) of a coherent visual narrative and reality.

Mutoscopes still delighting today… at least for a handful of seconds.

When the child was a child,
it didn’t know that it was a child,
everything was soulful,
and all souls were one.

When the child was a child,
it had no opinion about anything,
had no habits,
it often sat cross-legged,
took off running,
had a cowlick in its hair,
and made no faces when photographed.

– from Song of Childhood by Peter Handke

Memories of our past are similar to film in that they allow for an illusion to be created as well. This is the illusion of coherence and meaning, when in reality our memories of the past are subjectively stitched together by our consciousness according to the fears, desires, biases, worldviews, beliefs, and such. accumulated in one’s lifetime.

Memories are given what meaning we assign them, which is then firmed up into our own unique and personal story… for better or for worse.

This is true for all of us, except for those rare individuals who cannot create or recall memories. Their experience is closer to a film-goer who is only able to remember the most recent ten seconds of the film.

 

Individual frames… images… stitched together become a film.

Individual moments… experiences… stitched together become a life.

 

This is the remarkable trick of human consciousness.

A song Bono wrote about after first seeing his then-deceased mother in an early home movie.