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WORK TITLE: Starseeds
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: http://www.mrglaubitz.com/
CITY: Tijuana
STATE:
COUNTRY: Mexico
NATIONALITY: Mexican
Lives in Tijuana, Mexico; teaches at San Diego City College, CA. * http://www.hireanillustrator.com/i/portfolio/charles-glaubitz/ * https://www.behance.net/mrglaubitz
RESEARCHER NOTES:
LC control no.: no2017021216
LCCN Permalink: https://lccn.loc.gov/no2017021216
HEADING: Mrglaubitz, 1973-
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100 0_ |a Mrglaubitz, |d 1973-
370 __ |a Tijuana (Baja California, Mexico) |c Mexico |f Rosarito (Tijuana, Baja California, Mexico)
374 __ |a Graphic artists |a Illustrators |a Artists |2 lcsh
375 __ |a male
377 __ |a eng
400 1_ |a Glaubitz, Charles, |d 1973-
400 1_ |a Glaubitz, |c Mr., |d 1973-
400 1_ |a Glaubitz, M. R., |d 1973-
400 0_ |a Mr. Glaubitz, |d 1973-
670 __ |a Mrglaubitz. Black darkness, 20–?: |b title page (Mrglaubitz)
670 __ |a Mrglaubitz WWW site 17 February 2017: |b About (Charles Glaubitz, b. 1973, native of Tijuana, born to Mexican mother and American father with German roots; grew up in Rosarito Beach, lives in Playas de Tijuana; BA from California College of the Arts in San Francisco in 2001; has exhibited in Mexico, U.S., Spain, France, and Germany; illustrations have appeared in Rolling Stone Magazine, San Francisco Chronicle, New York Times, and others)
PERSONAL
Born 1973, in Tijuana, Baja California, Mexico; children: two daughters.
ADDRESS
CAREER
Artist, writer, and educator. San Diego City College, San Diego, CA, teacher; teacher of illustration and sequential art in Tijuana, Baja California, Mexico.
AWARDS:Fondo Nacional Para La Cultura y Las Artes (FONCA) grant, Mexico, 2014.
WRITINGS
Artwork has been featured in the book Juxtapoz Illustration 2, edited by Saelee Oh and Evan Pricco, Gingko Press, 2011, and in Juxtapoz magazine.
SIDELIGHTS
Charles Glaubitz, the son of a German father and a Mexican mother, is the author of the graphic novel Starseeds and a multimedia artist who works in painting, drawing, watercolor, sculpture, installations, animation, and comics. In an interview for the website In the Make, Glaubitz noted that his work has undergone major changes. His art had been greatly influenced by his living in Tijuana and, he said, the “characters from Tijuana and Mexican folklore, myth and pop culture. I call this work the ‘old world’—El Viejo Mundo—which is about our relationships to the exterior.”
In 2007, Glaubitz began a series of paintings in which he “created two archetypes to confront each other in a final battle, the Capitalist King and the Gardener,” Glaubitz noted in the interview for In the Make. “In battle they ended up being more complementary and less oppositional and together they created a small big bang, and this big bang gave birth to the new world. This new world in my work is a realm of the ‘starseed’ children and illuminati secret society.” Glaubitz began to break down his artwork into chapters, which would eventually become the Starseeds graphic novel.
In Starseeds, Glaubitz presents a mythical tale told both in words and pictures. Combining aspects of myth, religion, and spirituality, Glaubitz also includes hermetic ideas, alchemy, and science in his tale of warrior-like Starseed children battling a secret society of Illuminati who serve the dark forces of the the Annunaki, their masters. It turns out the Illuminati have stolen from the four elements to create a new element that can assume almost any form.
“A starseed child is a warrior-like child that defines a generation—it’s a child who is emblematic of the end result of the evolution of revolution within our system of genetics, philosophy, science, art, etc., etc.,” Glaubitz noted in the In the Make website interview, adding: “They are endowed with direct access to our past history and have all the wisdom present and all the conflicts resolved from the past … they are the next quantum step.”
Through his story and illustrations, Glaubitz tells how an indigo, a crystal, and a nahual (or animal) child join forces to gather all seven Starseed children to fight the Illuminati. As the Starseed children gather the story also follows a single drone-like Illuminati as he leaves his nondescript home in the suburbs and travels “down into the bowels of the earth as he serves his dark lords,” noted Sequential State website contributor Alex Hoffman, who went on to describe the uniqueness of the Starseeds who are in command of various powers while “the Illuminati are drones, and appear en masse to do the bidding of higher, darker forces. The intuitive is juxtaposed with the schemed. Beauty is juxtaposed with filth.”
In describing the story and artwork in Starseeds, a contributor to the All Star Comics Melbourne website referred to the graphic novel as “a book keen to trigger something in your subconscious.” Throughout the book, the story contains references to a variety of philosophical and religious concepts and is especially interested the existence of both light and dark. For example, the Illuminati followed in the story lives in a world of philosophical darkness that threatens to overtake his very being. The Starseeds, however, accept the darkness around them but battle it with the light from inside them. “You could see this as a juxtaposition of eastern and western philosophy,” wrote Hoffman, who noted that Glaubitz aligns “the Illuminati’s power with the Christian seven deadly sin.”
“Starseeds is boundlessly energetic in style and execution and will make your brain crackle in all the ways that only good comics can,” wrote a contributor to All Star Comics Melbourne. A Publishers Weekly contributor highlighted the novel’s “clever mash-up of science, fantasy, conspiracy, and religion.”
BIOCRIT
PERIODICALS
Publishers Weekly, January 9, 2017, review of Starseeds, p. 49.
ONLINE
All Star Comics Melbourne Website, http://ascmelbourne.blogspot.com/ (March 6, 2017), “Comic of the Week: Starseeds.”
Charles Glaubitz Website, http://www.mrglaubitz.com (October 23, 2017).
In the Make, http://inthemake.com/ (March 1, 2014), “Charles Glaubitz,” author interview.
Sequential State, https://sequentialstate.com/ (February 27, 2017), Alex Hoffman, review of Starseeds.*
Charles Glaubitz
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About Me
Charles Glaubitz lives in Tijuana, Born from a German-American father and mother from Los Mochis, Sinaloa, Mexico. His work has been recognized by American Illustration, Communication Arts, How Magazine, Print Magazine.
The artwork has been featured in Juxtapoz Magazine, Juxtapoz Illustration 2 Book, The Upset Gestalen, Pictoplasma. His comic work has been recognized by American Best Comics 2012.
His artwork has been exhibited at San Diego Museum of Contemporary Art, Oceanside Museum of Contemporary Art, Museo Carrillo Gil México City, Museo de Arte Zapopan.
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Charles Glaubitz
ARTIST, TIJUANA / MEXICO // MARCH 2014
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“ I’m interested now less in physical borders and more in the borders that exist between imagination, abstraction, myth and fantasy; the internal conflicts as opposed to the external.”
Within minutes of meeting Charles and his family at their Playas de Tijuana home I knew I was in for a whirlwind tour. Charles home studio occupies what would be the living room/dining room; it’s smack-dab in the center of the house, in the midst of all the family activity. His wife and two young daughters met us with great enthusiasm. They were curious, funny and talkative— his wife asked loads of questions, his eldest daughter watched our every move, and the youngest daughter was busy at play pretending to be a cat or raccoon or perhaps some animal in between, growling, mewing, and grumbling about, pawing the air and sneaking smiles at us. Charmed but overwhelmed, I had no idea how to get the interview started.
I guess I must have had a “ahem” moment, hoping that by clearing my throat I could bring the focus back to the job at hand– doing a studio visit. It worked… to some degree. I think I started with something like, “Can you tell me more about themes in your work?”… and then for about half an hour I didn’t say another word. I just listened as Charles rattled off unfamiliar names of realms and characters and told me about this story and that. I’m sure I blinked vacantly like an idiot. I don’t know what to call Charles other than passionate, but honestly even that word seems meager. In discussing his work, Charles is full-throttle— ever-present to the worlds his imagination and art live in, each piece encompasses complex and vast backstories that consider the human psyche and the state of the modern world… but that also examine the inscrutable and chaotic cosmos, and our place in it. His work expresses itself in a visual mythology, heavily leaning on narrative and metaphors, in an attempt to speak about existential things without words, or beyond words. A seemingly impossible task, but Charles doesn’t seem daunted. Instead, he is firmly entrenched in the narratives and committed to working out every detail, every bit of meaning.
As the interview went on, Charles and I managed to establish more of a back and forth dialogue, and the conversations became more approachable. And slowly it meandered away from his work and just became a fairly ordinary chat about family life, Tijuana, jobs, and living expenses. Later on we went out back into their “magical garden” (that’s what the young girls called it and they are right to do so) and we sat in the sun, on the grass and played with the family’s pet rabbits who roamed about nibbling weeds. I think we could have stayed on in their garden forever if we had wanted to— there was no rushing to send us off, no push to say goodbye and be done with their day with strangers. Now, looking back on that day and that studio visit, I see how much it had its own trajectory and I can’t help but laugh at myself standing in Charles’ studio with the recorder in my hand trying to make it go otherwise.
How would you describe your subject matter or the content of your work?
I would describe my work as mythical, pictorial, illustrative, cosmological, and relating to sequential art and comics. It combines elements of myth, religion, and spirituality with comics, hermetic ideas, alchemy and science.
What mediums do you work with?
I work in painting, drawing, watercolor, sculpture, installations, animation and comics.
Your work address life on the border without directly calling attention to the border, instead it explores imagery of mythology and archetypes to hint at border-town realities— can you tell us more about this approach?
There have been two very important changes in my work. In the beginning of 2001 the work was influenced by the surrounding environment of Tijuana and characters from Tijuana and Mexican folklore, myth and pop culture. I call this work the “old world”— El Viejo Mundo— which is about our relationships to the exterior, whether it be relationships that are more indicative of a clashing against ideas of the border, or are more parallel to what the physical border means in real life.
In 2007 a change occurred in my work when “the old world” ceased to exist and I created two archetypes to confront each other in a final battle, the Capitalist King and the Gardener. In battle they ended up being more complementary and less oppositional and together they created a small big bang, and this big bang gave birth to the new world. This new world in my work is a realm of the “starseed” children and illuminati secret society.
My newer work addresses the idea of borders/limits within oneself, one’s own limits internally. I’m interested now less in physical borders and more in the borders that exist between imagination, abstraction, myth and fantasy; the internal conflicts as opposed to the external.
Besides your art practice, are you involved in other kind of work?
I am heavily involved in teaching illustration and sequential art here in Tijuana and had also been teaching in San Diego for 10 years until recently. I am also involved in graphic design as well as illustration.
What are you presently inspired by— are there particular things you are reading, listening to or looking at to fuel your work?
I have just finished reading (actually I listened to it while I worked) The Four Agreements: A Practical Guide to Personal Freedom by Miguel Angel Ruiz, and Anansi Boys by Neil Gaiman. I am constantly listening to or reading about ideas related to the unconscious… I’m interested in The Lost Teachings of Joseph Campbell, Alejandro Jodorowsky interviews on Youtube, the science fiction novel Ready Player One by Ernest Cline, the comics of legendary French artist Moebius, the fictional character of Little Nemo created by American cartoonist Winsor McCay, and Chris Ware’s The Acme Novelty Library.
Is there something you are currently working on, or are excited about starting that you can tell us about?
This year (2014) I received a three year grant from FONCA (Fondo Nacional Para La Cultura Y Las Artes) México’s equivalent to The National Endowment for the Arts. It’s the first time the category of graphic narrative is being offered and I was awarded the grant in order to produce my comic narrative “The Starseed Children”— a seven volume graphic novel.
A starseed child is a warrior-like child that defines a generation— it’s a child who is emblematic of the end result of the evolution of revolution within our system of genetics,philosophy, science, art, etc, etc. They are endowed with direct access to our past history and have all the wisdom present and all the conflicts resolved from the past…they are the next quantum step. In my work they are represented by an indigo child, a crystal child, a nahual(animal child) who set out on a journey to bring all seven starseed children together to join forces to defeat the Illuminati and their masters the annunaki and the coming of the black darkness.
How do you navigate the art world?
Not very well, to be honest. I am often just seen as a illustrator or a comic book guy who paints. I try to just make my work and hope for the best which I know is not necessarily very smart or realistic, and may not be the best strategy in trying to make it in the art world.
Do you see your work as relating to any current movement or direction in visual art or culture? Which other artists might your work be in conversation with?
Because my work is very visually illustrative it has been called “lowbrow” or “pop surrealism” before but I really don’t like either of those classifications. But at the same time I cant think of any current art movements that my work might have a relationship to. I would like to think or would hope that my work is in conversation with Matthew Barney, Trenton Doyle Hancock, Gary Panter, Marcel Dzama, Ernesto Caivano— I relate to work that is epic, mythological and fantastical, enigmatic and experimental, and that is , maybe visually overwhelming at times.
What three things never fail to bring you pleasure?
Life.
Basel.
Reading comics.
Are you involved in any upcoming shows or events? Where and when?
I am currently working on a show “Buscando Singularidad en el Tiempo/Espacio de Complejidad (Looking for Singularity in a Time and Space of Complexity” for Mexicali Rose Art Space in Mexicali, Mexico. The show opens March 28th and runs until the end of April.
To see more work by Charles:
www.mrglaubitz.com
FIFTY24MX Gallery in Mexico City.
Tropico de Nopal Gallery in Los Angeles.
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Starseeds
Publishers Weekly.
264.2 (Jan. 9, 2017): p49.
COPYRIGHT 2017 PWxyz, LLC
http://www.publishersweekly.com/
Full Text:
Starseeds
Charles Glaubitz. Fantagraphics, $29.99
(240p) ISBN 978-1-60699-989-9
[ILLUSTRATION OMITTED]
This clever mash-up of science, fantasy, conspiracy, and religion has all four elements colliding off of each
other even as they meld together into something that is either beyond comprehension or that is physically
manifested by this volume. Mexican multimedia artist Glaubitz manages to have it both ways in an effort to
capture all levels of consciousness and dimensional existence at once while also providing some absurdist
kinetic action. Following one member of the Illuminati through a mundane workday and into the further
realms of fantastic and endless cosmic battles, the slim story evokes the essence of some of Jack Kirby's
stranger works. In portraying the Illuminati and its place in the universal order, this book is akin to
accidentally stumbling into a secret cult meeting and being provided with no context for what you just
discovered. This should be considered the official tome of the post-truth era, because it traverses realities
and suggests that all truths are concurrent and that your own truth defines the universe--or something
equally mind-bending and impossible to understand. (Feb.)
Source Citation (MLA 8th
Edition)
"Starseeds." Publishers Weekly, 9 Jan. 2017, p. 49+. General OneFile, go.galegroup.com/ps/i.do?
p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA477339308&it=r&asid=37f9b472610688b4a07899263c7e9f81.
Accessed 30 Sept. 2017.
Gale Document Number: GALE|A477339308
Sequential State
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COMIC REVIEW: STARSEEDS BY CHARLES GLAUBITZ
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Comic Review: Starseeds by Charles Glaubitz
Alex Hoffman Feb 27, 2017 0comments 85 Views 0 Likes
I took last week off to recover from a nasty cold, which gave me the chance to catch up on some reading, including an advance copy of Charles Glaubitz’s Starseeds from Fantagraphics. Glaubitz, a Mexican multimedia artist, is known for his art and illustration work, and Starseeds is Glaubitz’s first graphic novel. In it, the mystical Starseed Children are pitted against the Illuminati for control of the world and the cosmos, a battle that pits two super-powerful dichotomous forces against one another in a way that can best be described as mythological.
From the perspective of book design, Starseeds is a lovely 240 page hardcover with spot gloss treatment on the cover. The comics are two tone navy and yellow, and depict a multitude of strange creatures and machines, in the wilds of the forest and in the depths of the Illuminati secret headquarters. Glaubitz’s chosen style for the book seems to pull from a variety of sources, including Miyazaki and Kirby. The same could be true of the storytelling, which blends conspiracy theories, religious text, and science fiction and fantasy genre fiction in surprising ways. The comics have an undeniable dynamism coupled with a pattern-making I haven’t seen in comics this long. Repetition builds meaning over time, and recurrences of events in the book emphasize the similarities and differences between the characters. Glaubitz uses strong typographic elements to convey shifts in scene and time, giving the book an additional illustrative twist.
As an aside, It’s hard to look at the Illuminati in Starseeds without seeing Warren Craghead’s recent Trump illustration series, although clearly these comics were either completed or well underway when Craghead began his series. The similarities are striking, and the idea of evil as a dripping, oozing, pustulent thing seems to be in the zeitgeist. In both Craghead’s series and Starseeds, it could be said that the visual repulsiveness of the characters is directly proportional to their evil behavior.
At the heart of Starseeds is a conflict between the natural world and the human world. We see the Starseed warriors existing in peace in the wilderness, surrounded by spirits and trees, while on the other hand we follow a single member of the Illuminati straight from his suburban cookie-cutter home down into the bowels of the earth as he serves his dark lords. There’s also a clear differentiation between the two forces; the good guys, the Starseeds, are unique individuals with varied skills and powers; the bad guys, the Illuminati, are drones, and appear en masse to do the bidding of higher, darker forces. The intuitive is juxtaposed with the schemed. Beauty is juxtaposed with filth.
Glaubitz also uses the text to work through some deeply philosophical and religious concepts, and focuses on the coexistence of light and dark and their interplay between the characters. The nameless Illuminati member lives in darkness and allows the shadows to consume him, while the Starseeds vanquish the darkness by allowing it inside themselves and then conquering it with the light. It seems like the Starseeds see these forces as complementary, where the Illuminati see them as oppositional. You could see this as a juxtaposition of eastern and western philosophy, and in fact Glaubitz seems to emphasize that comparison by aligning the Illuminati’s power with the Christian seven deadly sins.
There is a lot to unpack in Starseeds, and I think there are plenty of themes and ideas Glaubitz is playing with that I haven’t picked up on yet. It’s certainly a comic that rewards rereading. But I think the defining characteristic of Starseeds is its ability to mix genre with the metaphysical, and in doing so, it generates an otherworldliness that is strange and compelling.
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COMIC OF THE WEEK : STARSEEDS
By Charles Glaubitz
Published By Fantagraphics
Kermit the Frog, Jodorowsky, Miyazaki. Just three of the names checked off by Mexican multimedia artist Charles Glaubitz in this week's video (below) as influences on The Crystal Sigil, a comic published about six years ago. From The Crystal Sigil grew what ended up being Starseeds, a 200-plus-page hardcover released just a few weeks back by Fantagraphics. On the surface, its an odd triumvirate of names to invoke, but as I fumble around for ways to succinctly describe what Starseeds actually feels like (and it is one of those rare books almost felt/experienced/absorbed rather than merely "read") the three names area descriptor better than anything I could come up with. Although I'd toss Kirby in there also - there is more Kirby Krackle on the average page of Starseeds than of any other comic since The King himself churned out his Fourth World saga.
I'm also going to have to lazily plunder from the publisher's description for a moment, to succinctly give you an idea of the book's...um..."plot": "The warrior-like Starseed children -- the end result of the evolution of revolution within our system of genetics, philosophy, science, and art -- take on the Illuminati and the coming of the black darkness in this fantastic work of mythical, pictorial, and cosmological majesty." Right. That's about as close to a story description as we are going to get. It sounds like some sort of paranoid transcendentalist art comix take on The X-Men, which I guess Starseeds kind of is now I really digest that, but do not go into Starseeds expecting a Wolverine vs The Brood type of cosmic mutant smackdown. Glaubitz has a far loftier endgame in mind even though he does not skimp on the fisticuffs.
Drenched in the work Joseph Campbell (most definitely add him to the names above), Starseeds is a book keen to trigger something in your subconscious. You will recognise archetypal figures and struggles within - our hero faces down his own poisonous shadow in much the same manner that Luke Skywalker faced down his on Dagobah - but you won't have seen them rendered quite like this before. Glaubitz's pages are filled with an almost childlike glee for creation married with Fine Art sophistication married with a clear love of myth. In fact, if you're desperate for Jesse Moynihan to finish his classic Forming trilogy, this is a more than fitting way to spend your time. Glaubitz's almost-cute characters (even the villain looks like something you'd find on the poster for an Illuminati happy meal) are put through an increasingly complex series of surreal landscapes and battles and transformations. At times, you may well be actually lost and, by book's end, maybe even a touch overwhelmed/overstimulated, kind of like a much, much safer version of a Lovecraft protagonist who stared at The Beyond for too long. This is a good thing. A sign of powerful art.
And powerful art is what Charles Glaubitz gives us, with page after striking page of trippy space expanses, nightmarish interdimensional Illuminati strongholds, gloopy "white poop" beasties, cosmic heroes of the collective unconscious borne from "centre alignment with the self" and inner lizard monsters, all of which is contrasted against the humdrum of the everyday suburban life and all wrapped in up a package that feels like LSD-era '70s Marvel in charge of Adventure Time.
A particular highlight comes in the form of our bad guy's transformative moment as he literally shucks off his Illuminati grunt persona and awakens the real darkness within. What follows is a virtual primer on being a psychedelic super villain, as Glaubitz presents us with full-page splashes visually manifesting each of the seven deadly sins, with matching text on each opposite page reading like something some anti-Yoda might well teach. From "greed": "Take everything away from your enemy. Keep it all for one's self. Destroy him/her by thinking only of you, in your mind you should be thinking only me me ME ME."
There's really little more I can add outside of saying that for a book so long in the making (various images and pages go back at least six years) Starseeds feels very of the moment. The book's evocation of deep, paranoid conspiracy married with an alien creation mythology feels more relevant than ever in a time where a manipulative lunatic like Alex Jones has the ear of the President. In fact, as this excellent and fun little Publishers Weekly review notes, Starseeds "should be considered the official tome of the post-truth era, because it traverses realities and suggests that all truths are concurrent and that your own truth defines the universe—or something equally mind-bending and impossible to understand."
Starseeds is boundlessly energetic in style and execution and will make your brain crackle in all the ways that only good comics can. Find a quiet space, put on something ambient but odd (I recommend this or if that's a bit much, maybe this) and let Starseeds transport you to both the inky heights of cosmic comics possibility and deep into the interior of the self. These two spaces, Starseeds postulates, make up the cosmos itself. The light from outer space is alive. The light within us is alive. The wonder of Glaubitz's work is that he reminds us not only of these rather obvious facts, but also that our system of symbols is also still very much alive and that comics remains the most immediate and vital artistic medium to explore it. Surely this is the year's most cosmic and mind-bending comic, one in which philosophy and fists both fly with equal reckless abandon.
WEBCOMIC OF THE WEEK : THE NICEST DOG
By Gabrielle Bell
Time for an interlude in the intergalactic, pan dimensional, existential action.
It's been almost four years since Yvonne and I adopted our dog Beatrix aka Little Bea aka Bea Bea, and we can't really imagine life without her although obviously one day we will have to. The story of how we actually got her is a funny one but kind of long, so I'll share Gabrielle Bell's new little webcomic for Vice here instead. "The Nicest Dog" details Bell's first visit to a dog shelter to potentially adopt her very first dog. Dog shelters, as I'm sure most of you are aware, are sad and overwhelming places and Bell perfectly captures the anxiety first time dog owners (like me) feel upon entry and seeing all those pooches staring out at you from behind the bars of their cages. It's a sweet and funny little strip and a pretty strong argument for animal adoption, as if we needed another.
As this is rapidly devolving into a public service announcement, here's the link to the Lost Dogs Home where, of all places, Yvonne and I really did find just the nicest dog and you may well also.
link to the Lost Dogs Home
https://www.vice.com/en_us/article/the-nicest-dog-todays-comic-by-gabrielle-bell