Our cityscape style is something of a cross between an art deco rendition of the Dark Knight's Gotham and the Swedish filmmaker's vision of the world. Which is to say, there's a lotta gray. And shadows. And mood.
When I was just 15, living in Wisconsin, in the dead of winter, my dad would pick me up at school once a week and take me to his campus to watch the latest installment in the college's Ingmar Bergman film festival. Yes, all the works of Bergman, when I was 15, the bulk in the dead of Wisconsin winter. It was . . . affecting.
I was a comic book fan as well, but much more a Marvel house kid than DC. My brother Phil liked them both. Still, no matter how you slice it, Batman was, is, cool, especially when you factor in the moodiness, the dread, the sinister menace that is Gotham itself. [And you leave Robin out.]
In retrospect, on reflection, it is the falling short that defines the Venn diagram commonality between the story of Batman and the zeitgeist of Ingmar Bergman. Our aspirations, our goals our ambitions, our knowledge, our understanding . . . our reach ever exceeding our grasp.
In our artwork, we seek to convey this sense of aspiration that is greater than ourselves.
