Presumably, Foxo went to an Art School or University Art Department to learn the remarkably original skills he cultivated and explored with his BOZO Project.
Amongst his strip’s many wonderful features, it’s Foxo’s understanding of representational three-dimenional space that most deeply captures my attention.
Different Artists at different times have come to terms with visual space representation in quite different ways.
George Herriman and Krazy Kat come to mind as an example of this but of course not city and country-based as George Herriman consistenly seemed fascinated with deserts when he settled down to working with his main characters, Krazy, Ignatz and Officer Pup.
But no doubt about it, like so many others, Foxo Reardon was a master of his craft.
You are most welcome to the enjoyments my studious approaches can sometimes deliver.
I find it to be a remarkable strip because Foxo’s approach to presenting a three-dimensional world for his characters to inhabit has a very distinguished originality.
In the first strip, the horizontal and vertical geometries in the 3rd and 4th panels — first the vertical fence in panel three, contrasting with the parked DAIRY vehicle — and then the fence, a bench and a tree in panel 4, are works of aesthetic genius!
Presumably, Foxo went to an Art School or University Art Department to learn the remarkably original skills he cultivated and explored with his BOZO Project.
Amongst his strip’s many wonderful features, it’s Foxo’s understanding of representational three-dimenional space that most deeply captures my attention.
Different Artists at different times have come to terms with visual space representation in quite different ways.
George Herriman and Krazy Kat come to mind as an example of this but of course not city and country-based as George Herriman consistenly seemed fascinated with deserts when he settled down to working with his main characters, Krazy, Ignatz and Officer Pup.
But no doubt about it, like so many others, Foxo Reardon was a master of his craft.