French illustrator Gary Colin experiments with non-anthropomorphic, novelty, swarming and organic forms via a computer graphic programme to create living cartographies of other worlds.
gary uvodka

WORDS BY THE AUTHOR / I work mainly on art books and comics and I’m influenced by science-fiction and universes that are not very normal. With the help of drawing softwares, I create digital patterns and abstract shapes to represent hallucinogenic landscapes. I like the precise line and the digital atmosphere produced by the technique.


Before I start, I have a plan of what I want to draw but I leave room for mistakes or chances and the processes of computer rendering. I don’t always anticipate the result. 

My drawings show elements that are mutating. I like to transform the elements I draw into other things, sometimes abstract. And because it is comics, the reader can follow the successive phases of the transformation, just like chronophotography. It also allows me to play with a visual rhythm.

fly zoom 1
fly zoom 2

I like to work with a teeming material that lives in the objects and spreads. 

Thus, the objects I draw are often deformed by their own composition, and even more abstract shapes appear. I then make frames and scale changes.


I don’t have a particular theme featured in my work. 

I often construct my stories like in a linear video game. The characters are progressing and interacting based on chance. I often avoid using human shapes, instead I draw anthropomorphic objects as characters. I look for a non-realistic representation.

Snímek obrazovky 2020-12-29 v 15.25.18
Snímek obrazovky 2020-12-29 v 15.25.33
Snímek obrazovky 2020-12-29 v 15.25.44
Snímek obrazovky 2020-12-29 v 15.25.53

BIO / Gary Colin (*1987) studied graphic design at ESAG Penninghen in Paris, France. For his degree in 2014, he drew the book How to Kill, which initiated his work of experimental comics. In 2016, he founded a small press and riso printing studio named Les Éditions de la hyène. He self-publishes comics and art zines, and regularly attends several art book festivals.

Did you like it?
Share it with your friends
Share on facebook
Share on twitter
Share on email

You may also like

Daniel Drabek’s monsters are not for the sterile gallery wall: the Italian-Swiss visual artist’s creations find their home on posters, album covers, clothing and stickers, among other surfaces. Today, Daniel provides a glimpse into the role of spontaneously projecting memory into his art and reveling in the distortions that emerge.
Rahel Süßkind, also creating under the alias Chrissy Fahrenbruch, mirrors in her singular illustrations “the world as she sees it”. These cutesy, vivid visions include bipedal animal hybrids such as Snooh, a friendly green character kneaded into existence from no other substance than… phlegm. Enjoy a slightly oozy interview with the author.
“Many microbiologists argue that we should start thinking of humans as microbial ecosystems or multispecies collectives.” Charlie Spies’ Gutopia animations playfully and intimately explore the dividual on the backdrop of a late capitalist society still riddled with archaic stereotypes and rigid knowledge-creation processes.
What do a flock of starlings and generative design have in common? Why does chaotic movement fascinate and unsettle us at the same time? And how can we tell if we're watching a real video or a screensaver? In her article, Bára Čápová reflects on the similarities between the natural movement of animal flocks and herds and algorithmic digital images. Illustrations for the article were created by Jakub Bachorík.