The artist has given an exclusive interview to Bored Panda, and told us more about herself:
"I️ grew up in Orange County, NY, in a curved modernist house my mom designed (she’s an artist who had been an architect before moving to the country to marry my dad, who had a medical practice nearby). I️ have a younger brother named Gideon. We always had a dog. I️ went to small Jewish schools without much in the way of art classes, so my very specific training all came from my mom until I️ started preparing a portfolio to apply for art colleges. I️ went to Cooper Union, which was both delightfully quirky and cruelly snobby. I️ loved the humanities classes. I️ survived the judgment of art school by wanting to be a writer, not an artist."
She told us more about her history of creating illustrations and her style as well:
"I’ve been drawing all my life. I️ never knew, growing up, that there was a difference between cartoons and fine art, and I️ pretend I️ still don’t know that there is.
I️ never had a style that felt natural to me until I️ got angry at an ex-boyfriend when I️ was 28 or so and started drawing mean parodies of him, which I️ photographed with my phone camera and put on Instagram. Taking pictures of my drawings instead of scanning them was a revelation. I like to draw very small, and in the margins of other things—and I’d never considered these drawings to be things I️ could show the world before. I cramp up when I️ try to draw more professionally. I️ use the defunct version of the muji .38 gel pen. I️ hope it comes back before I️ run out."
As for her motivations on why she's creating them, the artist named two key motivators: "My Instagram drawings mostly come from fear and anger about things I’m supposed to suppress and sweep under the rug: the horrors of dating, terror of crowds. My New Yorker cartoons are less angry and personal than my Instagram cartoons. They’re more absurdist and observational. I like to come up with ideas for New Yorker cartoons once a week, while riding a train. I spend another day or two turning the ideas into drawings. And my graphic novels come from such a layered and convoluted place I️ couldn’t begin to describe it, even to myself."
Liana has also given a sneak peek into her creative process: "I️ spend about three days a week making New Yorker cartoons. I️ submit 7-10 each week. The rest of my time, I’m focused on whatever big project I’m doing at the moment: working on a book or (lately) a screenplay. There are a lot of side projects that also take time: I️ teach a college class and sometimes have magazine or newspaper assignments or advertising work. My Instagram cartoons are my way of procrastinating. They come out of nowhere, and I️ post them the second I️ make them."
"Saul Steinberg and Roz Chast have been my very favorite cartoonists since I was a tween. As for the art in general, I think my favorite is the funny and angry Louise Bourgeois. I️ go to The Met once a week and spend most of my time with African, Native American, Asian and Islamic art. My favorite art is emotional and expressive and tells a story of some kind. I️ particularly love art from a long time ago: it affirms for me that creating things is a deep human need that has been with us from the beginning and will never go away. I️ also go to the Frank Lloyd Wright room every time I️ go to the Met. It reminds me of the house I️ grew up in. I️ wish I️ could sit in the chairs and draw."
Ms. Finck shared what she hopes to do in the future. "I️ hope I️ can keep making a living doing what I️ do. It’s not something I️ take the least bit for granted. I’m about to have a baby. I️ have no idea how things will change for me after that, but supporting my family from my cartooning work is my main goal. I️ have a few books out. My latest graphic novel is called Passing for Human, and my collection of Instagram cartoons is called Excuse Me. I’ll have another graphic novel, Let There Be Light, out in early 2022."
And if you want to become like her someday, she's given a solid piece of advice for future illustration artists: "Don’t try too hard to be professional. It’s all about communication, saying something you want to say. It’s not about aesthetics. Advice #2: you will need to learn to roll with the punches: periods of failure, being ignored, etc. This will never go away. But you will get better at coping with it. And the successes are always nice."
