I have this habit of putting out everything I do, just really not holding back. Some of them, that’s for stylistic reasons, and for some of them it’s just content. He went through and showed me what his selections would be for this kind of book, and then I basically went through that and was like, “No, no, no.” For me, they were pieces that helped personal growth or something, but they don’t hold up as strong for me now. We first compiled everything I’d ever done, which was kind of crazy. He and I have been meeting for the last couple years. The idea came about through the editor of the book, Bill Kartalopoulos. How did you choose which zines to feature in the book? The stuff I was doing in between had a big impact on how my comics were changing. A lot of my other artistic practices were changing and those influenced every zine. Emphasizing that it’s a selection, rather than a complete, chronological A to Z collection, allowed that there was space and time in between. There were actually a lot of zines in between that we skipped, and a lot of stories that had been in anthologies that we also skipped. Reflections is the last one in, and it came out in 2014. The first one was Warmer, which I released at the end of 2008.
Mostly because the book contains zines that were released over five years. What was the importance of emphasizing that After Nothing Comes is excerpts of zines, rather than a complete collection? The sewing gave it this very sensitive quality. It’s funny, because I was using things that were practical, that were available, but they also really work with the content in adding to the overall softness of it, and giving it more of a three-dimensional presence. I didn’t have a stapler, so I had to sew them all. A lot of those early zines had silkscreened covers, and on carefully picked paper. How integral do you think a zine’s physical form is in communicating its message?ĪIDAN KOCH: When I was first, so much of it was about the tactility of it as an object. RACHEL DAVIES: In After Nothing Comes, the binding of the zines is specified before the comic begins. Recently, I got the chance to ask Aidan a few questions about the book, her artistic practice, and how she’s a fan of sharing even your early work online. You can see her style developing and strengthening. Through this book, which comes out this spring on Koyama Press, The reader is able to fill in the blanks, and to make the story their own.Īidan’s most recent book, After Nothing Comes, is a collection of zines she released between 20.
Aidan uses few words to convey great feeling, and she often leaves blank spaces in panels.
Her scripts have a simplicity that elevates the artwork-the story and visuals work perfectly in tandem. Her drawings are so serene and soft, which I find to be uncommon in the often hectic-looking world of comics.
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