Anna Haifisch was born in 1986 in Leipzig (Germany). After seven years at the Academy of Visual Arts, she crossed the ocean to work at a printing studio in Brooklyn, NYC, then came back to Europe to settle and fully express her talent in the modern comics field.
In 2013, she created « The Millionaire’s Club » with some others motivated artists, which is one of the most exiting event around comics, focusing on the most prestigious authors nowadays. Would all these meetings, from New York to Leipzig, have influenced the vitriolic art world portrayed by the author ?
In 2015, “The Artist”, a weekly comic book for vice.com was a stroke of genius: the world discovered her talent. With a caustic humor and a self-mockery ton, Anna Haifisch produced a criticism of the artistic happy-few and some larger sociological observations on the modern society. This is probably why one part of her readers thinks Anna is one of the funniest of the last few years, while the other part explains that she creates something depressing and pathetic.
Her graphic approach is tart, immediately recognizable : she masters minimal compositions, playing with a limited palette of colors. His sense of formulation is extremely fluid, and solicits the reader just enough to find the way. This apparent simplicity is quite revealing of the intelligence set up by Anna Haifisch. The American author John Porcellino simply speaks of her as “the World’s Greatest Cartoonist ».
We can’t agree more! To be continued!
(Thanks also to Les Éditions Misma for this greeeaaat partneship to get Anna Haifisch with us during both PFC#6 and the Festival International de bande dessinée d’Angoulême)
Online : www.hai-life.com • instagram.com/the.artist942
Bibliography :
• « Von Spatz » (Rotopolpress, GER, 2015 ; Drawn and Quarterly, CAN, 2018)
• « Don’t Worry » (Perfectly Acceptable Press, US, 2015)
• « The Artist » (Reprodukt, GER, 2016 ; Breakdown Press, UK ; Reservoir Books, ESP)
• « The Artist, Der Schnabelprinz » (Reprodukt, GER, 2017 ; Breakdownpress, UK, 2019)
• « Drifter » (Perfectly Acceptable Press, US, 2017)
• « Fuji-San » (Kabinett, AUT, 2018)
• « The Mouse Glass » (Perfectly Acceptable Press, US, 2018)
Collective works :
• « Super Towers » (collective, 2017)
• « Club Articho #1 » (Les Requins Marteaux, 2016)
• « Dopututto Max numéro 9 » (Misma, 2015)
• « Dopututto Max numéro 8 » (Misma, 2015)
• « Dopututto Max numéro 7 » (Misma, 2014)
• « Dopututto Max numéro 6 » (Misma, 2014)