Todd Van Buskirk's journey into conceptual art began with reading comics as a kid.A keen memory from Todd Van Buskirk's childhood is that of being intrigued by a Garfield comic strip, by Jim Davis. On this strip, 2 or 3 panels were repeated-the same drawing-over and over. The next time Van Buskirk noticed this effect was in Frank Miller's work for Marvel Comics and in Miller's graphic novel, "Ronin." A couple years later, while working at the Rochester Public Library, Van Buskirk accidently came across David Lynch's "The Angriest Dog in the World." This strip uses the same drawing in each panel, the difference being the drawing in the final panel and the changing dialogue. As Van Buskirk expanded his knowledge of art history over a period of twenty years, including a Bachelor's in animation graphics, he relished the element of repetition within abstract expressionism, color field painting, pop art and minimalism to name a few. The element of repetition was the one element of art he was most interested in.With the start of his first graphic novel, "There is a comic panel on p.90," Van Buskirk started exploring minimalism with repetition in what he calls his "color-field" books. His novels, "Rochelle's name is seen on p.120," and "A world where the sun is locked in an eternal sunset" are other examples of this type of book. This graphic novel title continues in this tradition. This graphic novel is a companion book with Van Buskirk's "Leo's Dead" graphic novel. In "Leo's Dead" it was the image of Leo dead that never changed. In "Housewife" it is the dialogue that never changes.
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