Visual artist and animator Moriz Oberberger builds his illustration around strange characters and awkward bodies, chasing the moment when something familiar turns slightly uncanny. He keeps a drawer of graphite and coloured pencils worn down to nubs — deliberately, because a nearly finished pencil changes texture as it goes — and works paint for its viscosity, letting figures ooze in a way that recalls Philip Guston. The influences are children’s drawings and Oulipo in equal measure: nonsense assembled with rules, landing on covers for MacGuffin and Die Zeit.

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