Born in Brussels in 1967, Dominique Goblet is a Belgian
graphic novelist whose unique style and voice make her an important figure in the
world of graphic literature. Graphic literature and comics are defined as narratives
built with images, distinct from a single illustration. An illustration may stand
alone, but a panel in a comic or graphic novel interacts with the panels around
it, with the words on the page, and with the entire composition of the work. In
her youth, Goblet studied visual arts at St. Luke’s Institute, and in the years
since then she has gone on to publish several successful books.
Portraits from Chronologie de Nikita, a series of portraits completed by Dominique Goblet and her daughter over the course of ten years. The two drew portraits of each other once a week.
Her childhood was troubled, a theme she explores in her multiple
autobiographical novels, particularly Faire semblant c'est mentir (Pretending is Lying)
(2007) but including Souvenir d'une journée parfait (Memory of a Perfect Day) (2001). Pretending is Lying delves into some of the
most important relationships in Goblet’s life—namely, those with her parents,
her lover, and her daughter. These separate narratives are not chronological,
running parallel to each other throughout the story and highlighting the
complex dynamics of each relationship. Memory
of a Perfect Day, similarly, intertwines multiple storylines, but this
particular novel weaves together an autobiographical account with a fictional
story. In this way, Goblet explores the idea that fiction and autobiography
both hold their own kinds of truth, and poses the question “Is fiction more
personal and more true in another way?”
Goblet’s art style varies dramatically between and even
within her works. She uses a wide
variety of media in her artwork, including various drawing instruments like
pencil, pen, marker, and pastel, as well as paint and monoprints. Viewing
different pages from Pretending is Lying,
one could easily believe that each one had come from completely different
books, so different are the lines, the colors, the characters, the words. The
main unifying factor throughout is the organization of the square panels, tying
the narrative together, relating each image to the others and progressing the
story forward. The way in which she portrays her characters is very malleable,
changing their shape depending on how they relate to the people around them. In
another work of hers, Les Hommes Loups (Wolf Men), her
style is darker and more foreboding, with more dark hues and foggy, mysterious
shapes, pairing well with the themes of the project: disquiet, distrust, dishonesty,
and deceit.
A piece from Les Hommes Loups (Wolf Men)
I chose Dominique Goblet because I was drawn to her drawing
style (no pun intended). Her exploration of color intrigues me with its
contrast of bright hues with dark and neutral tones, and the varying degrees of
realism with which she portrays her subject matter are interesting and
engaging. I think that her versatility is especially fascinating to me—I would
like to eventually cultivate many distinctive styles as well, and I hope to develop
a more carefree, uninhibited approach to drawing similar to the spontaneous strategies
she employs.
Works Cited
Brazell, Derek, and Jo Davies. Making Great Illustration. London: & C Black, 2011. Print.
"Dominique Goblet." New York Review Books. New York Review Books, n.d. Web. 19 Feb.
2017.
Lehoczky, Etelka. "With A Photographer's Eye, A French
Cartoonist Interrogates Truth." NPR.
NPR, 05 Feb. 2017. Web. 19 Feb. 2017.
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