Archives : Schuiten

On the occasion of the publication of “Brüsel”, the fourth instalment in the “Cités obscures” cycle, François Schuiten has created an original lithographic print. Schuiten spent several days in the studio working on the outline drawings that would be transferred onto the plates. The shared desire of both author and publisher was to counter the advance of the “fake” lithographic print that has done nothing to enhance the image of BD. Some interested parties have encouraged a certain confusion in the public mind in terms of what defines a lithographic print by comparison with (frequently) an offset print and (occasionally) a screenprint. The “Brüsel” image allows the true enthusiast to appreciate an exemplary lithographic print. It also marks a significant turning point in Schuiten’s career.

Why was it important for François Schuiten to create a real lithographic print?

François Schuiten: My two preceding experiences had fascinated me and had also left me with a sense of dissatisfaction. I realized from that point that in order to create a lithographic print, the artist has to be involved in a real sense. That’s what explains the desire to roll up one’s sleeves and get involved in the process.

How did this “complete” experience unfold?

François Schuiten: The fact of working in collaboration with Alexis, a real artisan of lithographic printing who worked with Braque, Chagall, Léger and Dali, was extraordinary. The collaboration with this great professional was fascinating. One very quickly adapts one’s way of working because, with lithography, one finds that a particular manner of depicting the image will work better than another. I tried to use this technique to bring particular effects in the use of colour, particular textures … One eventually arrives at a texture and a delicacy in the image that are impossible to replicate in offset or screenprinting. The entire image was conceived with these attributes in mind.

This image could almost be a publicity shot for the urbanism project of De Vrouw?

François Schuiten: In principle, no; but why not? Perhaps it could represent a part of the city that’s been spared … Where Benoît Peeters and I are concerned, Brüsel has always been a city apart in the “Cités Obscures.” It was present in a minor way in “L’Archiviste” and in “La Route d’Armilia.” With each successive appearance, Brüsel shows itself in a new light. For a city, it’s a unique strength to be able to demonstrate these different facets. Anyone who knows Brussels will understand …

How does the Brüsel lithographic print differ from your other images?

François Schuiten: It’s an attempt to find a way of filling the space that would be more abstract, less classical, while at the same time incorporating some BD references like the cars … The spatial organization differs from my usual style. It might be less obviously spectacular than some other images I’ve done, but there is an underlying spatial layout that people will gradually come to see. The same applies to the subtle interplay of colours that the lithographic process has rendered so faithfully. This subtle “rupture” is part of the continuity of my last “Brüsel” album. As was the case with that album, some may say that the tone here is different. The print treatment of the clinic is somewhat different in style. Each album tries to achieve its own unique graphic style. Things settle into a pattern over time. For me, the fact that I played a full role in the making of this lithographic print has been a significant advance for me.

Source: Champaka News n°1, September 1992