The Philippe Labaune Gallery’s latest exhibit features the work of Eisner-award winning artist Paul Pope. Created in collaboration with Felix Comic Art, the exhibit presents original pieces from the world of comics, including Batman: Year 100, Battling Boy, THB, Heavy Liquid, alongside homages to European artists such as Hugo Pratt and Moebius, rock and roll art illustrations for the Jon Spencer Blues Explosion and The Grateful Dead, and many of Pope’s personal artwork.
We had the pleasure of speaking to Philippe Labaune, the founder and curator of The Philippe Labaune Gallery, once again about the new exhibit and Pope’s art in this exclusive interview.
Can you tell us the origins of the Paul Pope exhibit?
Philippe Labaune: The origins of the Paul Pope exhibit really stem from a long-standing admiration, both personal and professional. I’ve been a fan of Paul’s work for many years—long before we ever discussed an exhibition. Over time, that admiration turned into a friendship, and with that came an even deeper understanding of his creative vision. I had always hoped we’d find the right moment to collaborate on a show, and fortunately, the stars aligned.
When Paul told me about the release of PulpHope 2, it immediately felt like the right time. The book is not just a collection of art—it’s a portrait of Paul’s journey as a visual storyteller. It gave us the perfect framework for shaping a show that could celebrate his legacy while also offering something new. From there, the idea came together quickly. It wasn’t just about marking the book’s release; it was about creating a space where people could engage with the physicality of Paul’s art—the brushwork, the corrections, the intensity. The exhibit became the natural extension of that.
You previously mentioned that Pope combines a number of styles and influences from around the globe. Where do you see these influences in Pope’s art?
Labaune: Paul’s work is instantly recognizable—there’s a style that’s unmistakably his—but what makes it so compelling is how layered it is with global influences. You can see threads of German Expressionism in the mood and chiaroscuro of his pages—that dramatic tension between light and shadow. Then there’s the elegance and pacing of Franco-Belgian bandes dessinées, which give his storytelling a kind of narrative sophistication that’s rare in American comics. And of course, the kinetic energy and abstraction of manga is deeply woven into his linework and panel rhythm.
One clear influence is Hugo Pratt. Paul has often paid homage to Pratt, and you can feel that reverence in the way he handles gesture and atmosphere—those quiet, loaded moments that say as much as an entire page of dialogue. It’s not imitation, though. Paul internalizes these traditions and reimagines them through his own lens.
Is there a particular piece of Pope’s art that you are looking forward to sharing with your guests?
Labaune: There are truly so many remarkable pieces in the show, it’s hard to choose just one—but if I had to, I’d say I’m especially looking forward to sharing the Lone Wolf piece. The ink work is extraordinary—so fluid and confident—and there’s this haunting stillness to it that really stays with you. The way the wolf looks directly out from the page creates a kind of unspoken dialogue with the viewer. It’s powerful, intimate, and absolutely masterful.
I’d also be remiss not to mention Paul’s Arzack tribute. Moebius is one of my all-time favorite artists, and seeing Paul interpret that universe was incredibly moving. His homage isn’t just stylistically impressive—it’s heartfelt. It captures the spirit of Moebius while remaining entirely Paul’s own. It’s a beautiful convergence of two visionary voices.
How is the exhibit arranged in terms of Pope’s artwork?
Labaune: When organizing the exhibit, we really aimed to create a balance between Paul’s sequential storytelling—his comic strips—and his standalone illustrative work. The main wall of the gallery is dedicated to his illustrations, which allows viewers to really engage with the detail and craftsmanship in those pieces. Then, in the adjoining room, we’ve curated a wall specifically for his sequential pages—strips drawn from various iconic publications.
There, visitors will find a beautiful spread of work including pages from Batman: Year 100, Battling Boy, Spider-Man, and Escapo. On the wall opposite, we’re showcasing the dynamic fight sequence from 100%, which is one of my personal favorites. Seeing it unfold in sequence on the wall really gives you a sense of Paul’s storytelling rhythm and visual tempo.
We’ve also set aside space for a few of his standout individual pieces—his self-portrait, and of course, the Arzack tribute. Each of those works has a strong presence and deserved room to breathe. The goal was to create a layout that lets guests appreciate the range of Paul’s voice, both narratively and artistically.
You recently wrapped up the Will Eisner exhibit. What was the public’s reaction to the exhibit?
Labaune: The response to the Will Eisner exhibition was incredibly enthusiastic—both from longtime admirers of his work and from visitors who were perhaps encountering his legacy in depth for the first time. Unlike some of our more artist-centric or contemporary shows, the Eisner exhibit had the tone of an institutional retrospective. It was really about honoring one of the true giants of the medium—someone who didn’t just shape the artform, but fundamentally transformed how we understand it.
Eisner is often referred to as the “father of the graphic novel,” and with good reason. His work in A Contract with God and his pioneering use of the comics medium as a vehicle for serious, literary storytelling opened the door for generations of artists to follow. Our goal with the exhibit was to highlight not only his mastery of form and technique—especially in The Spirit—but also his deep emotional range and narrative innovation.
We showcased original pages, sketches, and rare materials that emphasized the breadth of his career, and people really responded to the sense of history in the room. There was a reverence, but also a sense of rediscovery—especially among younger viewers who may know Eisner by name, but hadn’t fully appreciated the power of his storytelling until seeing it up close. It was an important show for us and for the medium as a whole.
What can you tell us about some of your future exhibits?
Labaune: We have some exciting exhibitions coming up that I’m really looking forward to. In November, we’ll be presenting a show with Lorenzo Mattotti. He’s an extraordinary artist—renowned for his expressive use of color and his ability to move between fine art and narrative illustration with ease. His work has a dreamlike intensity that I think will translate beautifully in the gallery setting.
Then, in the spring, we’ll be featuring Geof Darrow. Geof’s level of detail is absolutely astounding—he’s one of the most technically gifted artists working today. Each of these exhibitions will offer something very different, but both artists are at the top of their field, and I believe they’re going to make for truly memorable shows.
The Paul Pope Exhibit will be open to the public from Thursday, June 19th until Saturday, July 26th. The Philippe Labaune gallery is located at 534 West 24th Street in New York and is open from Thursday through Saturday, from 10am to 6pm
