gustave morin's first interview / questions by Renee Tomsich for UPFRONT magazine, may 2003
2. What were your artistic influences/inspirations in making the book?.
i don't like this question, but i'll try and answer it. the biggest influence on my work is the life that i lead. all my work comes out of my life, first and foremost. that is primary. the other artists and writers i like i can list, but they don't necessarily have any bearing on this book, or my work in general, so that won't really be helpful. as i mentioned, a penny dreadful is a collection of concrete poetry. no one in the world even knows what concrete poetry is, so it would be futile for me to name some of the writers i like that have also mined this vein. (and i'm not trying to be vague, i'm simply keeping in mind the readership of UPFRONT magazine...) since i was a kid i've had a love / hate relationship with comics. isimilarly have a love / hate relationship to the cinema. i read everything: poets, novelists, philosophers, social-scientists, theorists, art history, the pulps -- really, a little bit of everything. some of my favorite global intelligences are: jwcurry, d.a. levy, f.a.nettelbeck, Bern Porter, Wallace Berman, Roland Topor, E.M.Cioran, Willard S. Bain, Oyvind Fahlstrom, Ian Hamilton Finlay, Werner Herzog, Ian Curtis, F.W.Nietzsche, Joseph Cornell, Mark Laba, Gordon Matta-Clarke, Marcel Duchamp, Antonin Artaud, Bill Knott, diter rot, ray johnson, Sidney Simes, Jess Collins, Gustave Verbeek, Ed Ruscha, Max Ernst, Goya, Ernest Buckler jr., Alfred Jarry, B.S. Johnson, William S.Burroughs, e.e.cummings, Northrope Frye, Thorstein Veblen, Cornell Woolrich, Ambrose Bierce, Heraclitus and Diogenes, just off the top of my head. this list could easily go on and on until there were 2000 names on it. (& people tell me constantly that i don't like anything!)
what a spot
where can I go
to escape that lot