In the pitiful light of a room with closed shutters, the personality sensitive of Luz radiates. The designer, a survivor of the massacre of 7 January 2015, today lives under high protection, speaks with emotion and delicacy, the secrets of his next album, in a bookstore on Friday. Fort 320 pages, Indelible a review of its twenty-three years spent in the writing of Charlie Hebdo .
” READ ALSO – The first boards of Indelible Luz, the COMIC tells Charlie Hebdo of the interior
the First documentaries to be heated, the work atmosphere is vibrant, squabbling and divided explosive fusing of every part, the book offers a dive intimate in writing decimated, there is nearly three years old. Mixing self-deprecating humor and a touch of nostalgia, the book recounts with great emotion the fervent years of the satirical weekly. A book funny, uplifting, between tribute and testimony, where triumph the art of the drawing.
LE FIGARO. – Indelible is above all a tribute to the drawing?
LUZ. – Indelible is a book of drawings that speaks to the drawings. There is a lot of literature around Charlie and it was time that this history is drawn. We considered first of all as designers. Say of the people of Charlie that it is of the cartoonists is a big mistake. We are all designers. The caricature is an art of drawing.
“In “Indelible”, I draw also on the design of the other. The crunch in the process of making a drawing allowed me to bring life back to a whole part of my life.”
With Charlie, there is the possibility of working on the report drawn, therefore, to make sketches on the spot, to make the illustration, from drawing satirical or comic-strip through the comics trip. It is a space of the overall training. And there was a cartoonist who was able to do everything, Cabu. In Indelible , I draw also on the design of the other. The crunch in the process of making a drawing allowed me to bring life back to a whole part of my life which has turned around the drawing.
Charlie Hebdo you he trained as a man?
My album calls to mind the story of a young provincial who arrives in Paris to discover a family, office colleagues, friends, a human adventure that a lot of people live everyday around this thing in particular is the drawing press. More than a technique, it is a spirit, a speed capable of capturing an image of the density of an idea.
The effervescent time of the memory is in black and white while a few brackets stained from the album show you today, alone, in the night, prey to your memories. What is your relationship to color?
In general the color evokes the life. Me, I use it when I feel empty. In these pages colored that I call binders, marking the passage from one temporality to another, remains the main fear of being overwhelmed by nostalgia. Me, I rather think in black and white. To Charlie, we drew in black and white and for me this duotone symbolizes life. There is a lot more light in the black-and-white and in color.
“In general, the color evokes the life. Me, I use it instead when I’m feeling empty” Luz/ Futuropolis
Your book exalts the smell of paper, the sound of felts, feathers… The memories go-they by the way?
We talk about news paper in this album. After the tragedy that struck us, there was a need to rediscover the essence of Charlie . I wanted people who knew the newspaper of the time or those who have discovered it later and who have been confused by the morbid of this tragedy, we can find the living original of this essay. And this goes into effect by the senses.
“Our senses were all the time awake and I wanted to recreate it, bring back to life in this blaze after the big chappe lead that we fell over”
Among the many titles of the book that I had thought of it before Indelible , there was The Journal or A band of idiots . And at one time, I found an onomatopoeia in the book: pic pic. It illustrates the sound of the pen of Cabu. Find the smells, the impression of touch, the sounds, it is this that makes sense to me, that makes us alive. As for being able to touch the finger the reality. Our senses were all the time awake and I wanted to recreate it, bring back to life in this blaze after the big chappe lead that we fell over and that made static this whole adventure for me and a lot of people. Even if it continues in spite of everything. But with a gravity which for me was difficult to manage.
This has been the reason of your departure from the newspaper?
Yes. This was no longer the same thing. I could not spend my time to draw by imagining the drawing of the other. It drove me crazy. The twenty-three stories of Indelible I started by drawing the head of the buddies and girlfriends to bring light to a fraternity. I wanted to tell that all these individuals with their differences have made a great collective story, exciting and awesome.
Like a world gone?
No. A collective adventure which was known Charlie is always possible, regardless of the domain.
Are you nostalgic?
No. My work has been rather to make the appearance unheard-of, extraordinary of a situation that I still live today in a certain way. On January 7, has made the boundaries between past, present and future very confused. I wanted to share with the reader this confusion. I think that those who have been the companions of Charlie must be in this same sense. One knows that one has lived an incredible adventure with this journal, and yet it is trapped by a weight symbolic too heavy. When Charlie has become a standard of freedom of expression, that I was somewhere dispossessed of the reality of this that was this journal.
“When all the world is looking over your shoulder to find out what will be the next drawing, which will be the figurehead of the freedom of expression, you are not able to draw”
When all the world is looking over your shoulder to find out what will be the next drawing, which will be the figurehead of the freedom of expressure, you are not able to draw. To be free, it should not be a standard. The whole earth is invited in the editorial conferences. For me, to draw is to translate an absurd world that I don’t always understand. No one imagined at the time that our drawings, exhibited in the demonstrations, would become this.
C s if you want to restore a form of truth?
Among other things. In fact, I can’t find reason. There are a lot. Even if my wife has been the real trigger. We met a year before the attacks, and suddenly this symbolic of Charlie fell over. We spent a year loving each other and not to discuss the past. It took a moment for him to tell it all, this fraternity, this brotherhood, this intellectual effervescence. I wanted her to meet Charb, Cabu, Gébé, Tignous… And I had to do it with what I know to do best, draw.
Indelible, Luz, Futuropolis, 24 euros.
