Hip hop history and the world of comics collide in the artwork of Alejandro Torrecilla. Based in Madrid, scrolling through his Instagram feed is like entering the vaults of Marvel and DC Comics, but instead of Batman, Wonder Woman and Spider-Man, celebrated emcees Nas and Joey Bada$$ are reimagined as dramatic cartoon characters living out the fantasies in their lyrics.
The two disparate art forms have always shared subtle and sometimes striking similarities. On one end, many characters in comic lore disguise themselves under an alias, just like rappers — from the Wu-Tang Clan to MF DOOM — the latter of which based his entire persona on Marvel’s Doctor Doom. Fans will also note that the same pitfalls that have historically befallen comics, in regards to the genre being dismissed as an artform, have also overshadowed hip hop, which only recently become honored in mainstream settings, such as the first ever hip hop Halftime Show at Super Bowl LVI, despite statistically dominating the US charts for decades.
Aesthetically, Torrecilla’s work draws heavily on the ‘Golden Age of Comics’ from the 1930s to ‘50s, when Superman (amongst other titles) exploded on the US market partly as an affordable and accessible form of entertainment during the Great Depression, while simultaneously serving as a means to boost patriotism during WWII, where good proverbially triumphed over evil. Notions of ‘right versus wrong’ are shed in Torrecilla’s illustrations in place of the musicians key hooks, such as 2Pac rapping “All Eyes on Me” or Lord Apex reciting “Smoke Sessions”.
For the latest Pen & Paper, Hypeart caught up with the emerging illustrator to unearth the connections he makes between hip hop and comics, including his all time favorite rappers and the projects he has in store for 2024.
“I let myself flow with the pencil…”
Can you tell us about your beginnings and how American hip-hop and comics influenced the artist you have become?
I grew up dreaming about European comics — Asterix and Obelix, Tintin and many other underground fanzines that were very popular here. I admired a lot of artists like Moebius or Caza and their imaginary science fiction worlds. Later on, I discovered a lot of American underground comics (Robert Crumb) and Marvel, which I found quite late, from Jack Kirby to Steranko.
Did you go to art school and how did your aesthetic develop to where it is today?
I studied Engraving and Printmaking and worked for five years in India. Printmaking made me able to master the weft and line (I was an etcher and drypoint engraver) — and always, when it came to making shadows, I was more used to using multiple lines, than to smear the drawing with impastoed shadows. In India, everything is horror vacui, so I felt very comfortable adding a lot of tiny details to my illustrations that would tell little things about what I was drawing.
Your process seems tedious, can you tell us about a day in your life, from your first inspirations for a work to the final execution?
I try to read comics before I start drawing or watch an animated series, which gives me ideas for scenes. Then I play the artist’s music that I’m going to draw, watch some video clips to get more thoughts and then I let myself flow with the pencil until I get an idea that I feel most comfortable with.
Who are your five favorite rappers from 2005 to the beginning?
Rakim, KRS-ONE, Heather B, Nas and MF Doom.
And from 2005 to the present?
Tyler the Creator, Joey Bada$$, Freddie Gibbs, Denzel Curry, Raz Fresco.
“What I like most is to illustrate music.”
What is the hip-hop scene in Madrid like?
The hip-hop scene in Madrid is super active right now. The problem is that in Spain, rap has never been seen in a serious way. It’s not on the radio and it’s not given space in the media, so it’s very hard for people who make rap music in Spain to be seen and attract an audience.
But today, we have a lot of people doing really good things in hip-hop here. The internet has made it possible for young people in my country to understand the codes of American hip-hop and today any kid can listen to THA GOD FAHIM or Raz Fresco or powerful underground people from the USA.
Can you guide us through your ideation process for your interpretation of the Hypeart logo?
Well, the truth is that I wanted to make KRS-ONE in the BDP stage, doing a tribute to the cover of “By All Means Necessary.” What I’m doing is a revision of that same cover with what I see and consume in American comics. It’s been the best way to show how I gather ideas from what I see on covers, listening to music and how to mix in superhero comics (power and strength).
What is your dream project: a collaboration with Marvel or DC Comics, or even create your own set of characters?
I would love to make FATMAN comics. FATMAN is my character, he’s a fat guy who wants to be a superhero and fight evil. In my comic, there is a lot of emphasis on what the superhero thinks and why he fights. In superhero comics, you usually battle a villain who represents the evils of society. But the focus is not usually put on whether or not what the hero believes is the right way. FATMAN is an antihero: ugly, fat, smokes, is conceited, eats a lot of pizza, talks bad… The concept would be to make staples of 20 or 30 pages where they are self-conclusive stories in which, at the end, FATMAN continues at the same point from where he started.
Do you plan to exhibit these works in a gallery?
Maybe… who knows? I’m open to everything and I have no pretensions or desire to triumph. I try to go game-by-game and enjoy the journey. Maybe this year I’ll do a limited edition silkscreen to move it around galleries.
What new projects do you have for 2024?
What I like most is to illustrate music. I would love a collaboration with Joey Bada$$ or Freddie Gibbs. Make vinyls and projects where you can take an artwork to another level — vinyl, stickers, comics, clothing, or a joint project that would take a lot of imaginary behind the scenes work that would go a step further. I really enjoy illustrating things that relate to each other. But just improving my drawing style, release some posters and enjoy whatever comes my way.
All artwork courtesy of Alejandro Torrecilla for Hypeart.
