Purveyor of quirky, imaginative comics; professional animator and illustrator; add ‘recently new resident of Montreal’ to this list of titles, and you would be describing the wonderfully talented artist Jordyn Bochon.

In addition to her own self-assembled and self-distributed works, Jordyn has had her comics published in several anthologies. It’s possible you could have seen her work in the You Aint No Dancer anthologies (vol.2 or 3) put out by New Reliable Press, or her comics (such as Dead Bird and The Day After V-Day) on the shelves of indie-friendly comic stores around the nation.

Her site, 8et8.net, is a great place to check out samples of her work and to get a solid all-around idea as to what Jordyn Bochon is all about. Or, reading the rest of this article would also probably give you a pretty good idea. You should probably do both, for best value.

Originally hailing from ‘exciting’ Edmonton, Alberta, Bochon relocated to Vancouver to pursue a Bachelor of Media Arts degree (majoring in Animation) from Emily Carr University of Art and Design. During this time, she became well acquainted with the indie comic scene out in Vancouver, which helped to fuel her interest in producing independent comic books.

After receiving her BA in 2007, Bochon took a year to help her partner Tim Carpenter finish his graduation film. The two relocated to Montreal just this past July.

The decision to move was made out of a desire for a new perspective and a fresh start in a different city. Plus, as Jordyn explains, it’s nice to be able to afford a studio space – something she couldn’t do in Vancouver.

Jordyn chatted with the Fabler about her motivations, aspirations, and the new age progressive rock band she’s hoping to get off the ground with Freddie Mercury.

The interview is below:

KD: Why are you an artist?

JB: I can’t really imagine my life any other way. It’s simply the way I think and communicate with the world around me. I don’t believe I ever woke up one morning with the ambition to be an artist (in terms of an identity), but I do wake up in the morning thinking about ideas I want to get down on paper, or exactly what I want to draw before I have to sleep again, or the guilt trip I lay on myself when I’m not productive enough. It’s my first reaction to the things I observe and feel; art really is a way of life.

KD: Can you remember when it was that you decided animation & illustration was what you wanted to do?

JB: Well, I’ve been drawing for a long time. I think I can’t actually say I’ve settled on specific career just yet. Once I finished my degree, and throughout the many long, sleepless, nights while finishing my grad film, I questioned whether animation, illustration, or comics were what I really want to do. I realized I was more interested in learning how to become a storyteller than any of those things. For me the medium is completely secondary to the idea, and I feel I have a lot of learning to do before I could be satisfied with where I am in that respect. But, as I said before, it’s always been the way I communicate. Particularly, drawing. Comics have become more important to me recently, perhaps I’m starting to gain confidence (comics are HARD).

KD: Where do you draw inspiration from for the character ‘regulars’ you employ in multiple comics? (ie., Lere, Finnegan – both recurring characters in Bochon’s comic and illustration work)

JB: Lere has been around for a very long time, 8 years. He’s grown up with me and has evolved into something completely different than what I started with. Finnegan is almost just as old, but I think he really started to take shape in my second year of post secondary. Both have aspects of myself, and I often twist weird things that happen in my life into working for their worlds.

It’s a mix of my own extremes, fears, and obsessions jammed together with the observations I make about what’s going on around me. I often think that Finnegan is all of the terrible things that have ever happened to me in my life, and Lere is what I would like to be if I were a super hero or some kind of historical figure. Oh, what charisma!

KD: Who do you credit as having inspired your artistic style?

JB: It depends on what I’m working on. At the moment, I’m really into Slavic Folk art, like Ivan Biliban or Viktor Vasnetsov. In terms of comics I’m drawn towards a lot of the people who are currently working in the field like Farel Dalrymple, Kazimir Strzepek, Brandon Graham, Joann Sfar, and Gipi, to name a few. Also, I watch Miyazaki films a lot. A LOT.  I tend to have a movie in when I’m working. I watch of a lot of period drama (I have no idea why).

KD: What are some things you’re working on right now?

JB: Lere and Finnegan are from two large stories that I’ve been developing for some time. The ambition is to get these into graphic novel format, though, I’ve been pretty critical about getting the main plot points solid enough before taking the plunge and drawing these monster stories. I think with both I’m at the point where I just need that last push to get going. Up until now most of my comics have been one-shots, which isn’t actually true to what I want to do. It all comes in small steps, I suppose.

Also, Tim Carpenter and I are currently developing a new film project. This is in the very early stages, so there’s not much to say about it. I hope it’s as ridiculously beautiful as we want it to be.

KD: What’s been the extent of your experience self-publishing comics?

JB: I got my start with small time comics when I was in high school. I joined up with a group or people who mostly knew each other through the internet. It’s amazing, because the first three books I was part of were actual, perfect-bound, books. NOW, I’m doing the photocopy and staple technique. So far the experience has been very rewarding. Every new print run gets a little smoother, the designs and work get incrementally sharper, and I learn more about getting it out there for people to read.

I’ve also been lucky to be part of a few anthologies which print the work for you (it’s a little less stressful when you only have to worry about getting your comic done). In the end, it’s all for the love of comics in print; so everything is a reward. Recently, I found out that one of my books from 2008, “The Day After V-day”, was nominated for the Gene Day Award along with fellow Vancouver nominee, Miriam Libicki of Jobnik. That was extremely humbling.

You meet a lot of amazing, dedicated, beautiful people in this community. We’re all here doing what we love because we have things to contribute and, hopefully, are looking for things to learn from each other. Oh, it’s sweat, blood and tears and it’s a good day if you break even; but, we all know this.

KD: What do you think is the most challenging part about ‘getting your work out there’ when you’re self-publishing comic books in Canada? Do you have any advice about how to approach that challenge?

JB: It’s a growing community, but it’s also still a small one. I think it is important to be part of the effort locally. Go to you’re own city’s cons and bookstores. Find a way to organize events that get these independent publishers and artists together. It’s cool if you can afford to go to all of the big deal cons, but I think as long as you work on improving your craft, people will find you. It’s a slow process, and it’s true that not all comic book stores are open to bringing independent work into their racks, but I think if you’re serious about it, and stick it out, things slowly come around.

Also, shop around for printing! When I did my very first zine with fellow artist Colleen MacIsaac, we went to a name brand printer (you know which one I’m talking about… it starts with a K) and spent a fortune on photocopying. In the end, the place across the street, though not quite as fancy in terms of staff uniforms, charged way less and didn’t add fees when you used their equipment. Chances are, there is an artist co-op in your city that will offer you information and workshops about self-publishing, your community, and even have tools for you to use! That’s the best way to get started. Since I just moved to a new city, that’s what I’m doing all over again. It’s an adventure.

KD: If you could meet any three people, living or dead, who would they be and why?

JB: HMMM. THIS IS A HARD QUESTION. First, I would want to meet my Great, Great, Aunt, who apparently ran naked with the wolves during every full moon (in the old country) because I’ve heard this tale since I was very little and think I would probably get along with her. After that I would want to meet Merlin the wizard, because-come on- if we’re talking about raising the dead I’m sure we can get some fictional dead in here. We would probably make some neat comics together and I think it’s unfair I was born without supernatural wizard powers. Merlin would hook me up. Lastly, my Naked-Wolf-Aunty, Merlin, and I would pick up Freddie Mercury, my spirit guide, and we’d start a new-age progressive rock band. That would be absolutely grand!

Truth be told, I think all of the people I would like to meet are not the type to hang out with some random artist from 2009, so rather than taint the image I have of them in my mind, because it would totally end in a knife fight, I would rather not meet them at all.

Well answered, Jordyn. Well answered. For more from Jordyn Bochon, you can check out her website, Twitter feed, and sketch journal.