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The Dosh prize for Cartoons 2011 will be given this December to the illustrator and cartoon artist Moshik Lin, who publishes a daily cartoon in Ma'ariv newspaper, due to his life accomplishments. The prize is named after Kariel Gardosh, a cartoon artist, illustrator and creator of the character of "Srulik", Israel's symbol. The prize is given to artists in the field of cartoons in general and particularly political cartoons in Israeli journalism. It was founded by the Gardosh family with Ma'ariv newspaper and The Tel Aviv Municipality. The prize was given in previous years to Fridel Stern, Amos Biderman, Smuel Katz and Michel Kichka.
Let's open with a philosophical question. What is the role of the cartoon artist in your opinion?
It is similar to the character of the child in "The Emperor's New Clothes" by Hans Christian Andersen. The cartoonist is the one who sees the corruptions and injustices and screams that the emperor is naked in order to arouse public awareness. The role of the cartoonist, among other things, is to let the public whom I believe is right know that they are not alone. To show there is someone to support the feeling of loneliness which results from helplessness, a feeling you have no one to turn to in order to change the course of things.
When did you start to draw cartoons?
I draw as far as I can remember. My kindergarten teacher showed me a drawing I drew in kindergarten. I started to draw political cartoons when I was about 15, very early age. It began even beforehand, unoriginally, as in many other cartoonists stories, from cartoons of pupils and teachers.
Can you tell us about your work process?
Someone asked me yesterday pitifully – how can you still get up every morning and draw another cartoon? I replied that I do it with great desire in my heart and with great pleasure: it's in my eyes, my muscles, in every organ of my body. Furthermore, routine has its bonuses: the daily cartoon contributes to an improvement in the creative process, technique and precision. In the last few years I teach children and teenagers and share with them the world I live in. I meet many talented people that want to get results immediately. When I explain practice and patience are needed, most of them do not know what I mean. For example, my son asked me to draw his school principal towards his graduation. By looking at his pictures I discovered he is very difficult to draw. I didn’t like the sketches, and after a few days I told my son I need more pictures. My son was surprised with the long process and I told him that it is necessary to work hard, this way I know I did everything I can.
Where do you get ideas to the daily cartoon from?
After thousands of cartoons, drawing a daily cartoon is like participating in a running competition for 100 meters every day anew. Just because I won many times, it doesn’t mean I will win the next morning. The competition is between me and myself, and it compels me to understand it is impossible to draw the best cartoon in the world on a daily basis. For example, this morning I heard news on the radio about the doctors' strike. I drew some sketches but I wasn’t sure about them. Shortly after I heard about the death of Polard's father and BANG! An idea!! So the doctors' strike sketches were pushed aside. You have to go with your heart, and also with the magic of an idea that just pops to your head.
Which cartoonists influenced you?
As a child I was mostly influenced by Arie Navon, he has a beautiful line, and Dosh (Kariel Gardosh) whom I saw in my parent's newspapers. I love Nachum Gutman's works: his stories and illustrations, the simplicity, sharpness and humanity of his lines. Another illustrator I dearly love is Shmulik Katz: when I first met him it was strange since as a child I never imagined that one day I will meet the illustrator of the "Hasamba" series. The French cartoonist Declousaue can reduce a life philosophy to a simple line, while others would have to write books to convey the same idea. I was greatly influenced by artists whose names I never knew, from the Russian satire magazine "Crocodile". Many years ago someone secretly told me that I can get cartoons by Bordillo in Fridman Books. Today he's everywhere, but when I first saw his Crazy Cowboy I was one of few. In the field of portraits, a French trio – Moltie, Ricour and Rorchua, all did the sketches and research together and every time someone else would draw the final portrait.
You mentioned Dosh as one of your influences: do you feel that winning the Dosh prize is a closure?
Exactly. When I was a teenager my mother set an appointment with Dosh, who asked me to send him my cartoons prior to the meeting. I reached Ma'ariv publishing house extremely excited. He sat in his office behind a large table, upon were three piles of cartoons. One had little "X"'s written over it with pencil, which meant the cartoons were OK. The second had question marks and the third exclamation marks, meaning those cartoons were very good! Dosh suggested I acquire academic education instead of art school. I was disappointed since I wanted something practical, however it is a good recommendation for a political cartoonist since academic education contributes to one's ability to form an opinion and in depth understanding of things.
What was the most surprising criticism regarding your cartoons?
Arie Gos, the Kol Israel (Israeli radio station) specialist on Arab affairs sent me an email with three exclamation marks since he liked my cartoon. I really liked it! In addition, Benjamin Netanyahu sued Ma'ariv newspaper and me personally for a million shekels. This criticism says – you crossed a line. I used to get mixed comments: some criticized me for not being aggressive; others told me they like it. Even when I strongly criticize, I don't hate.
And the last question: if you could have unlimited budget for any project you would like -which one would you do?
My life story, but I wouldn’t paint it but write it. I don’t mean a biography, but a story that uses vast aspects of my life. I would like to use authentic materials, which now have a remote manifestation in my cartoons, things I write but don’t show to anyone. There will be visual descriptions and drawings, but in words. My thinking process is very visual, I think images. Many times in my personal life a complex human, social or family matter which seemed to have no solution clarified with a visual metaphor. It is a relieving feeling, like a good friend or a psychologist that gives you an advice.
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