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In mijn boek Sterrenstof volgen we vier vrienden die gaan kamperen in het bos. Je kent het wel zo’n typische beginscène van een horrorfilm. Vier tieners in een tentje, alleen is het geen horrorfilm en het zijn geen gewone tieners. De vier vrienden zijn antropomorfe dieren; een lama, een luiaard, een hond en een kat. Deze combinatie heb ik niet gewoon random gekozen, er zit ook niet zo'n diepe betekenis achter maar ze linken wel naar mezelf. Deze vier dieren zou je met mij kunnen vergelijken. Dit deed ik bewust omdat ik zo vanuit mezelf kon vertrekken. De personages weerspiegelingen hoe ik als persoon zou kunnen handelen in sommige situaties. Ze hebben elk hun sterktes en hun zwaktes. De hond is de leider van de groep, hij is erg loyaal en heeft graag de touwtjes in eigen handen. Hij gaat de groep pushen om mee te doen en betrekt iedereen zodat er niemand wordt uitgesloten. De luiaard kijkt toe vanop een afstand. Hij maakt niet graag keuzes dus laat hij de groep kiezen en stemt uiteindelijk in met wat er gekozen wordt. De lama is energiek, spontaan en maakt mopjes. Ze beschouwd de wereld als een speeltuin en is een echte levensgenieter. De kat daarentegen is koppig en wilt liever haar eigen ding doen. Ze is niet altijd even enthousiast en mompelt wat hier en daar. Ze trekt zich snel terug maar toch ze is geen katje om zonder handschoenen aan te pakken. De vier vrienden maken samen iets mee, iets wat niet echt lijkt te zijn. Ze komen terecht in een transcendente wereld en komen oog in oog te staan met hun diepste nachtmerries. Waarom is alles verandert? Is dit echt of een droom? Elk behandelen ze de situatie op hun eigen manier en slaan ze een andere weg in om tot het einde van het verhaal te komen.

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In The Birds Inside my Head I address these stories through two different perspectives: surrealism and feminism. The first one because it is a recurrent style in my illustrations, and the second one because femininity is the main point of view from which I discuss my experiences. From a retrospective point of view, in this paper, I examine what is called surreal art, the place of women in the surrealist movement as well as the peculiarities of the feminine perspective in the movement. Since my book project is told from the viewpoint of the Mexican culture, I focus on the work of surrealist painters Frida Kahlo, Leonora Carrington, and Remedios Varo, whose art is strongly inspired by Mexican culture and who shared a Mexican identity. I also explore the use of certain surrealist elements by these female artists, and how they enhance the ideas behind the narrative of their work. Additionally, I discuss the presence of surrealism in comics, particularly in the case of the strip Krazy Kat, since it is considered one of the first examples of comics with a tendency to surrealism (Venezia, 2011). I analyze the reason for this classification regarding its formal elements as well as the concepts behind it within its historical context. On top of this, I explore the place of women authors in the genre of autobiographical comics from a feminist point of view, understanding feminism as the American philosopher Marylin Frye defines it: “both a theory and a movement aimed at improving ‘women’s situations’ in all areas” (as cited by Wieder, 2019, p.3). It is important to note that I do not focus on feminism as a strict label or concept, but more on how women try to break up with the androcentrism that dominates their daily lives through their autobiographical comics.

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Research about the interrelationship between comics and architecture has always remained an obscure yet iterated phenomenon. Beyond its dormant actualization and having a unique capacity to gather together communication, space, and movement, comic books announced an unsophisticated but effective dialogue that reaffirmed the role of comics in the creation of architectural imagery. Furthermore, there’s a noticeably increasing number of expositions housing the distinctive overlaps bounded by architecture and graphic narratives. Comics have the ability to address many elements at the same time: show the invisible, mimic architectural space-time, and use narrative to immerse the reader into the represented architectural world. None of the five mediums of conventional drawing, writing, animated fly-bys and fly-throughs, virtual reality, and film can address all these elements. In order to understand architecture; graphic novels made the most complete and viable tool for expressing lived space in an architectural space. Historical trends can be traced back to Le Corbusier and his storyboarded Lettre a ​Madame Meyer ​in 1925, which is a graphical illustration design concept for the fictional project of Ville Meyer through a series of commented sequential vistas of the house. Moreover, ​“ Yes is more” ​isn’t the first archicomic that comes to the realization of architecture through a graphic novel’s approach. From Rem Koolhaas’ AMO/OMA (Fig. 1), a dutch designer and urbanist known for his inventive, cerebral plans. He has been known as a pioneer, a deconstructivist, and a structuralist, yet numerous pundits guarantee he inclines toward humanism; his work looks for a connection between innovation and humankind. He produced anarchic tracts that riffed on comics as well as magazines to Archigram’s pulpish collaged aesthetic, and comics that endorse the modernized urban transformation of spaces are an obvious criterion.