Friends, readers and colleagues,
It is with surpassing pride and gladness that I can, at long last, show you the cover to the upcoming complete collection of this series and announce the first opportunity to pre-order an copy for your very own. The book will include every tragedy, a 22 page story written and drawn by me just for the collection along with additional illustrations and other exclusive content that will not be available online.
If you have enjoyed the series thus far and would like to support it in a tangible way, it would be a great catalyst in the longterm potential success, proliferation and acceptance of this book in this wide, wild world of ours, if you would consider pre-ordering it from one of the following retailers:
Barnes and Noble
Please tell your friends, professors, pumpkins, pets and sworn enemies about it. I thank you for all the support, kindness and for the shared sense of comedy emerging from tragedy that we apparently share. Good day to you all.
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi 3 years long exposures: read “The passing of time“, (on Socks).