Illustrator and artist Joakim Drescher was immersed in a creative environment from a young age with his parents and siblings also working as artists. “I started drawing when I was around 16. Basically, I fell head over heels in love with bands like the Violent Femmes, Pavement, and The Pixies and I wanted in, but couldn’t play music, so I started drawing to communicate that kind of energy and be a part of the magic show,” explains Joakim.
The illustrator’s delicately drawn characters are rich with detail, appearing in scenes that offer a skewed and humorous perspective on the world. Joakim’s project Boudoir Scenes/Love is Strange is series of watercolours that caught our attention and are a raunchy homage to artists he admires. “I’ve loved the erotic work of Roland Topor and Tomi Ungerer, as well as many others, so the series is my attempt to rub shoulders with better artists,” says Joakim. “I didn’t really plan to make a series based on voyeuristic themes. I made one and the others came along naturally, which is usually the case when I work.”
The illustrator finds his style hard to define as he simply tries to execute his drawings “to the best of his ability” and “let the accidents happen”. “Those who don’t know me might accuse me of deliberating drawing badly. I am definitely influenced by my father and I am smitten by a lot of different artists but have never considered myself a great draughtsman,” he says. “I find that technically I have gotten better over the years and have developed all sorts of visual quirks or ticks.”
Throughout the series we see various sex positions performed by people in costume and guises, an array of elaborate orgy scenes all depicted in comical detail. The tone is chaotic and unexpected from one image to the next but there’s a folk-like narrative to each image, emulating Joakim’s approach to his work.
“I don’t really pre-write storylines but watch it evolve and add things where needed,” he says. “When I paint I use very traditional techniques like watercolours and ink. I rarely use a computer.” This analogue treatment of his illustrations manifests itself as grainy textures and an unevenness that remains contained within Joakim’s fine linework. “I like to keep [my work] as loose as possible and keep things open for myself to pluck whatever the ether has to offer me,” says Joakim.
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