What do you create when you’re not making mean art for Flashers? I love creating different characters and expressing things that aren’t always easy to say in words. As well as watercolour and paper cut (which I have used for my flashers illustration) I like playing round with polymer clay and creating different 3D characters and environments for them to live in.
What are your earliest memories of scribbling?
I always remember having a drawing book where I would draw weird little characters. I also remember drawing on walls at home and myself in school.
How do you draw inspiration for each Flasher image?
I first read the story a few times. Try to get a sense of what is happing and what the overall feeling is. Once I have worked out the ‘feeling’ I highlight words or sentences that I think describe this feeling, I often brainstorm related words to help myself really feel and understand it. Then I start sketching up these feelings in quick drawing until I have something I feel captures the particular essence of the story.
Which artist or artistic movement should we be checking out right now?
I recently stumbled upon the work of Mark Conlan on instagram and I think his stuff is really awesome so he is definitely one to check out!
Which Flasher+illustration combo was your favourite?
Picking ONE! That’s always a tough thing to do! I might go for THREE (it’s a nice looking number too). I really enjoyed ‘Unwelcome Warmth’, it had such an eerie vibe to it and I am often not that great at doing dark, scary illustrations. So it was a challenge for me and I was really happy with how it turned out.
‘Two Silver Teapots’ was good fun to do! It’s always fun getting to draw inanimate objects with personalities. I guess a part of me related to it as I am always giving inanimate objects names and creating personalities for them (something I never grew out of).
And lucky number three I think Ill have to pick ‘Morus Dancing’. It had such a beautiful feel to the story and I really enjoyed trying to create that in an illustration.
Discover a little bit more about our third Flashers illustrator of the year, Yiscah Symonds!
He held his new glass eye up to the light. I like it, he said. It has boldness. Depth.
At midday the pools are mostly empty: it’s just old people doing laps, lilac caps and bald heads hauling themselves through the water. The smell of chlorine and hot chips.
she said, and the words stopped. And sometimes, he said, and you were; I know, she nodded, there’s no doubt I was. He sighed, she looked the other way.
The mallow grows slowly, covering the fields in a twist of green vines, for months. Wild horses used to try and run through the old pastures when we first bought the property. The plants worm their way up the animals’ legs, so quickly, and we only ever find their bones.
Getting into the car, winter morning. So fucking early. All dark – just clouds, no sun. Getting into the car, winter morning: she pauses, because the insides of the windows are all fogged up. Fogged up like it’s warm in there.
The clouds came bulging over the plains like smoke. Juan saddled the bundle of maize on his back and looked behind him along the trail. He thought he saw a man, or the shadow of a man, the same texture and colour as the advancing clouds, following him.
I share my pokey little flat with two teapots, a mamma and bubba, that clang and clink, moving around me. A nasty version of the castle kitchen in Beauty and the Beast.
We saw the sky, cotton candy pink and Slush Puppie blue, turned the corner to a bright gold crease, cracking glass reflective, burning down red balconies – just brick, light and mortar.
The sound of Maddie’s car engine drifted away while Emma stood on the porch, groping through her bag for the keys. The door swung open; the hallway was lit, dully, from a glow beneath Emma’s bedroom door.