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      A fantastic and abstract wonderland – CX Huth

      Christian Huth, who writes under the pen name of CX Huth, captivates the reader with his comics and illustrations because of his unequalled naive-abstract style. Whether this is down to the lovable characters or more because of the enchanting stories that he creates around the experiences of his anti-hero is something that readers have to decide for themselves. In order to discover this, however, you first need to get involved with his comics and allow yourself to be seduced by their unconventional narrative style, so that, like Alice following the White Rabbit, you can escape into a fantastic and abstract wonderland. You can debate over whether CX Huth writes comics for children, for grown ups or for grown-up children. Huth effortlessly arranges philosophical themes and questions in fabulous word-picture combinations, which have a completely free and associative relationship to each other and sometimes take on Dadaist traits.

      For his first comic publication, Käthe u. Kruse (1994), Huth used a conventional comic narrative structure. But in his next comic Le Petit Fonte (1994) he broke out, relating a surreal journey through a fantasy landscape. On the search for Mops, Lillpop philosophises with a washing machine, talks to flowers and is threatened by a bad-tempered gym shoe.

      In the following years, Huth’s works have appeared in artistic contexts. He has been involved in international exhibition projects and gathered new inspiration for his method of narration. He has completely detached himself from the oppressive panels, allowing his characters and words to wander through the pages in a free and unhindered manner, as in the album Das 23 fünf acht neun (2001). When they visit the zoo, Lillpop and Mops make friends with a strange creature, the Keziban, which looks like a cigarette packet with eyes, legs and arms. CX Huth’s album, with its touching fairytale, looks rather like a children’s colouring book because it’s done in lots of colours with crayons and there are scribbles on the pages in what looks like children’s handwriting, with individual words and absurd series of numbers standing out. At the same time, the balanced composition makes every page enchanting in its own right, scintillating with a unique aura, which triggers memories of the reader’s own childhood.

      Matthias Schneider
      is a cultural researcher and freelance cultural journalist.
      He also designs film programmes and exhibitions on the theme of comics.

      Copyright: Goethe-Institut Stockholm
      March 2005