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Frank In The 3rd Dimension h/c

Frank In The 3rd Dimension h/c Frank In The 3rd Dimension h/c

Frank In The 3rd Dimension h/c back

Jim Woodring, Charles Barnard


Page 45 Review by Stephen

Dilate your mind!


Jim Woodring, the creator of WEATHERCRAFT, FRAN, FRANK, JIM, the PROBLEMATIC sketchbook and so much, more presents 27 landscape tableaux (including the front and back covers) given the old-school 3-D treatment by Charles Barnard then printed on hard board as thick as an Early Learning book. It comes with a set of spectacles which only Woodring could have designed, framed in purple and adorned with the cosmos, and protected by a transparent plastic pouch popped into an inset pocket.


Well, Woodring, obviously.

Also, I've been in love with this sort of 3-D transmogrification ever since I was a child. Unlike 3-D modelling which aspires to reality, it is, as the word implies, truly magical. It doesn't aspire to reality but a heightened reality in which flat objects float in a three-dimensional depth, almost as if suspended and luminously lit in a clear, viscous liquid.


Woodring's art has always been magical and hyper-real. I've often described it as "mind-altering yet legal". Plus while Frank, Pupshaw and Pushpaw are rendered without texture, his objects and landscapes come with carefully crafted, graduated contours which create a depth of their own.

Seen through rose- and blue-tinted glasses these populated tableaux become dioramas worthy of Restoration Theatre sets: the sort of stagecraft which produces not just a foreground for the actors to work in and a backdrop to set the scene, but layers and layers of contrasting, ornately shaped flats in multiple middle-distances. The exotic, convex domes and concaves scoops of Jim's Persian architecture make them prime candidates for this peer-to-one-side-and-you-might-see-a-little-more illusion.

In addition the foreground characters appear like cardboard cut-outs arranged freestanding as part of the ensemble as if using folded-back, ground-level tabs. One scene here depicts the ever-hubristic Frank laughing at a bipedal frog, head bagged in a sack, which always danced but now seems to jig or jerk about in this colloidal suspension with a new sense of movement.

One last example before I go to bed and dream Jim Woodring anew: there's a gnarled old tree with a knotted trunk, writhing branches and twigs twisted like tendrils. Like a gorgeously grotesque Christmas tree, it's festooned with trinkets which now dangle as if from a nursery-room mobile in three-dimensional space, one the other, never on the same plain.