Anton Gudim Joins La Furia Ilustrada: «I’m Interested in Observing the Contradictions of Our World»

Original article: Anton Gudim llega a La Furia Ilustrada: «Me interesa observar las contradicciones de nuestro mundo»

At first glance, Anton Gudim’s illustrations may not appear particularly unusual. His characters are anonymous and intentionally generic; the settings are clean and minimalist; and the scenarios are relatable for anyone who has lived in a modern city.

However, just a moment’s pause uncovers a shift: what initially seems like a mundane scene reveals a second, often unsettling and absurd interpretation.

This small shift between what we first perceive and what we later understand is a significant part of the Russian illustrator’s humor.

For the past decade, Gudim has observed the contradictions of modern life, transforming them into depictions that appear perfectly normal until they do not.

Themes of consumerism, work, social media, appearances, productivity, and the small struggles of daily life manifest in his drawings without the need for explanation. His humor relies less on punchlines and more on that moment when the viewer realizes something is amiss.

Series «Yes, But»

Originally trained in engineering and computer science, and possessing a notably reserved personality, Gudim began sharing his illustrations on VK, the Russian social network, before branching out to other platforms.

Today, he boasts over 1.9 million followers, and his comics have been compiled into books published in countries such as Russia, China, and the United States.

Since 2021, a significant portion of his work has focused on the series Yes, But, which is built around a simple idea: to depict, in two consecutive moments, the gap between a situation’s friendly facade and what lies behind it.

His reserved nature is mirrored in his public life: Gudim has never revealed his face in public and wears a mask during all his appearances and activities.

In conversation with El Ciudadano, the illustrator discusses the contradictions that inspire his work, the relationship between humor and social criticism, his deliberately anonymous characters, and the potential to create a humorous language that transcends borders.

He also reflects on the impact of the war between Russia and Ukraine on his daily life, observing a world that seems increasingly divided.

While he insists that his drawings are not intended as critiques of anyone and lack political context, a concern pervades many of his responses: the need to notice what often goes unnoticed.

«I am genuinely interested in observing the contradictions of our world and maybe, by highlighting them, contribute to making the world a little better,» he says.

For an artist who has made absurdity a lens through which to view the everyday, this might be one of the keys to his work: presenting something we already know, but in a way that compels us to look again.

–Many of your comics seem to tackle the contradictions of modern life: consumerism, work, social media, appearances, productivity. What interests you the most about questioning contemporary society?

-I am genuinely interested in everything around me, especially the things I observe in daily life. Living in a huge metropolis with over ten million people inevitably confronts us with chaos: there are simply too many people, and many fail to respect others’ personal space.

At the same time, the themes I explore reach far beyond urban life: they challenge absolutely everyone. They relate to issues of meaning, the very nature of our existence, the process of growing up, and the daily hardships we face.

I often reflect on how we attempt to solve these problems and why so many remain insurmountable. I’ve always liked getting to the heart of things. I feel this most acutely when I have a clear mind and can observe my surroundings with fresh, clear eyes.

I am interested in observing the contradictions of our world and, perhaps, by bringing them to light, contribute to making the world a little better.

–Is social criticism your starting point, or does it arise as a consequence of humor?

-My goal was never to criticize anyone. Initially, my drawings stemmed from real-life situations and the challenges I faced, and humor helped me cope with them. I simply shared my thoughts in an ironic manner, and over time, many people began writing to say that it helped them too.

People stop feeling alone in their struggles, and the ability to laugh at them makes the experience more bearable. I am convinced that this perspective offers genuine support in these difficult times.

Of course, not all the drawings intend to highlight something or criticize it. Some simply seek to entertain and provide a way to clear the mind during tough moments in life.

-Do you feel that your drawings have a political dimension, even if they don’t directly address party politics?

-My drawings have never had a political context; I have no interest in politics. Don’t get me wrong: when I say I’m not interested in politics, it means I consciously force myself to stay out of it. Simply because it doesn’t change anything.

Any knowledge of political processes only heightens my anxiety, a feeling that’s hard to cope with. That’s why I deliberately avoid discussing or analyzing politics. All I know is this: grand words often do not match actions, and behind all of it are forces that are beyond my reach and that I cannot change.

I prefer to inhabit a realm isolated from politics: the world of ordinary people, their everyday lives, and experiences.

–Your characters are often anonymous and almost interchangeable. Is this meant to represent «anyone» or does it also speak to how modern society tends to turn us into anonymous individuals?

-My characters were originally conceived as a counterpoint to the conventional approach used by comic artists. Typically, authors create characters based on themselves, endowing them with recognizable physical traits and personal characteristics.

I, on the other hand, made a conscious decision to ensure that my characters shared nothing in common with me or possessed any of my personal traits. It was a deliberate choice.

I believe my drawings address universal human themes rather than personal issues, so introducing a version of myself would have been inappropriate.

This approach allows the viewer to observe the scene from an outsider’s perspective: you know nothing about the characters, yet you understand the story, analyze it, and feel as if you are part of the unfolding events.

It’s somewhat akin to witnessing a chance event on the street: as you see it, you hardly stop to examine the physical traits of passersby; instead, you focus on the essence of the situation and its fundamental details.

-Do you think humor can really transcend borders without context, or are there things that only make sense to those living in a specific society?

-The nature of humor and how it is perceived across different parts of the world is a topic I constantly explore. I am genuinely interested in understanding how the sense of humor I’ve developed resonates with people around the globe.

As I have often mentioned in interviews, I was born in Russia but largely grew up immersed in American culture. While Russian and European influences have undeniably shaped me, I have always had a deep passion for international art in all its forms.

Thanks to this, and decades of practice, I have developed an understanding of what makes people smile globally versus subjects that resonate only locally: for instance, only in Russia or exclusively in Moscow.

-You live and work in a context marked by the war between Russia and Ukraine. Has the war changed your way of observing or representing absurdity since it began?

-Without a doubt. It cannot be denied that military actions directly affect the lives of people in countries affected by conflicts. Naturally, this impacts me too, both mentally and in terms of the practical and daily challenges that inevitably arise.

The major global issue I see today is widespread division. People worldwide are becoming more withdrawn and nations more isolated. Social media platforms are being blocked, censorship is imposed, and everything is moving swiftly toward a scenario in which humanity is becoming increasingly estranged. This trend feels profoundly alien to me.

I long to live in an open world; a world where a person from another continent is seen as exactly the same kind of human being as oneself. A world without borders, no visa barriers, no customs checks, and free from prejudices based on place of birth. And I am pleased that my work contributes to bringing people from all corners of the world closer together.

–You are set to visit Chile for the first time as part of La Furia Ilustrada. What do you hope to find here, and what aspects of Chilean society would you like to observe or perhaps even turn into a comic?

-My trip to Chile is just around the corner. I have planned an extensive itinerary that includes Chile, Bolivia, and Peru. A long flight awaits me, the longest journey of my life thus far. On one hand, it makes me a bit nervous, but on the other, it feels absolutely incredible.

I am eager to immerse myself in Chilean culture, soak in the atmosphere, see how ordinary people live, and of course, be part of an experience of this magnitude. Naturally, some anxiety exists, but my intense curiosity and desire to explore are far stronger.

I am confident that this country will evoke new ideas and inspiration that will inevitably find their way into my creative work.