Hansel & Gretel at Benjamin Pollock’s Toyshop

Hansel & Gretel update from the Benjamin Pollock’s Toyshop website:

‘NEW! This utterly bewitching illustrated toy theatre recreates the scary story of Hansel & Gretel, tempted into the Wicked Witch’s beautiful gingerbread house. Clive Hicks-Jenkins’ uniquely expressive painterly style evokes the story’s darker undercurrents, yet is peppered with delicious sweets and candies. This fully playable toy theatre comes complete with a proscenium, stage, six backclothes, two side wings, 14 characters/props and Benjamin Pollock’s Toyshop curtain. The eerie, somewhat grisly tale is told in an entertaining scipt written by the artist, accompanied by an additional mini theatre poster for ‘Jury Lane’. The theatre requires cutting and sticking to set up using scissors or a craft knife for maximum precision.’

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The toyshop has also produced a pop-up card based on the Hansel & Gretel Toy Theatre.

‘Good enough to eat although we don’t recommend it! Send a pop-up version of our Hansel & Gretel Toy Theatre through the post as it comes flat and through the marvels of paper engineering opens up into a tableaux of Clive Hicks-Jenkins exclusive design for Benjamin Pollock’s Toyshop.’

 

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A newly released game of Pelminism is based on the Hansel & Gretel Toy Theatre designs.

‘Warning: Do not play while hungry. This delicious game of Pairs otherwise know as Pelminism will help train your memory, so perfect for all the family to play together. Match Biscuits and Sweets from Hansel & Gretel beautifully illustrated by artist Clive Hicks-Jenkins and watch out for that witch! 32 card discs with instructions in a box.’

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Finally, there are Hansel & Gretel wooden spinning-tops in assorted colours.

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All the above may be found at the newly launched, redesigned Benjamin Pollock’s Toyshop website.

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Mary Bullington and the Anglo-Saxon Riddle

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Above: making stencils for The Exchange, No 10 in the Gawain series of prints

The wonderful Mary Bullington contacted me at Facebook offering this Anglo-Saxon riddle as a thrillingly mystical descriptive of what I do as an artist.
Riddle 40 
I saw four things in beautiful fashion
journeying together. Dark were their tracks,
the path very black. Swift was its moving,
faster than birds it flew through the air,
dove under the wave. Labored unresting
the fighting warrior who showed them the way,
all of the four, over plated gold. / Ic seah wrætlice wuhte feower
samed siþian swearte · wæran lastas
swaþu swiþe blacu swift wæs on fore
fulgum framra fleotgan lyfte
deaf under yþe dreag unstille
winnende wiga se him wægas tæcneþ
ofer fæted gold feower eallū

The answer is Quill Pen, and the explanation is as follows.

The ‘four things’ are two fingers, a thumb, and quill, working as a unit. And while it can’t be said that the quill moves ‘faster than birds’, it’s forgivable hyperbole, or perhaps even a humorous reference to the slowness of scribes working with painstaking deliberation. (In which case it’s even more like me, because I crawl over the densely detailed stencils for the Gawain series like a snail on a mission to circumnavigate the globe!) The ‘fighting warrior’ is the guiding arm of the scribe. The ‘plated gold’ is more obscure, and is probably a reference to the gold mount of the ink-horn.

While inks may no longer be dipped from gold-mounted ink-horns, in my mission to create the series of fourteen images to illustrate the magnificent narrative poem of Sir Gawain and the Green Knight, I feel the connection across time with the anonymous practitioners celebrated in the riddle.

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Above: completed stack of stencils ready to be sent to Dan Bugg at Penfold Press

Mary is a painter and a friend of Marly Youmans, and we know each other through Marly’s blog and through Facebook. I am so touched that she sent such a lovely thought to me, spurred by an appreciation of what I make. Thank you, Mary.

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The Eight Stencils of ‘The Exchange’

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Seven colours and eight transparent stencils. (There are two black ones.) Here the eight are stacked, held in place by tabs over registration pins. The effect is misleading. The stencils deeper in the stack are rendered milky by the layers over them, whereas in reality the tonality will be evenly distributed across the image. But this dreamy effect is beautiful in its own way. Luckily I checked the last batch of photographs before sealing the package, because I noticed here that the light on dark of the ropes supporting the mast, needed adjustment because they appear to go behind the topmost waves. All corrected now. Today the parcel will be dispatched to Daniel Bugg so that his work can begin.

The Exchange

 

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The Exchange is number ten in the fourteen print Sir Gawain and the Green Knight series I’m making in association with Daniel Bugg of the Penfold Press, and marks the episode from the poem in which on three occasions the Lord of Fair Castle returns from hunting to claim a kiss from his guest. I’ve always found this point in the story to be exciting, though wasn’t at all sure how to set about representing its transgressive nature. (Gawain has to parry the romantic advances of his host’s wife in her husband’s absences, and is made to surrender kisses to the Lord whenever he returns home. It’s as though the young knight is a shuttlecock being batted between the couple.) In the end I made the decision to create an extraordinary encounter, with Bertilak swooping from above to better create the sense of a dizzying erotic charge. I’m currently four stencils into this nine stencil print. Here’s a record of the work so far.

Above and below: preliminary sketches.

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Below: details of the ‘master’ drawing used to guide my work on the print.

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Below: creating the first stencil.

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Below: the dead stag from the first of the three hunts.

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Below: the granular texture of the TruGrain on which the stencils are made is apparent in this detail of the kiss.

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I use a limited palette of red, grey and black to make the stencils, favouring a combination of opaque fibretip pen, greasy lithography crayon, oil-rich black pencil and acrylic paint.

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Below: the colours planned for the print are dull blue, red oxide, dull sand, black, cyan, purple and orange.

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Below: beginning to render the embroidered details of Bertilak’s jerkin.

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Hansel & Gretel Q&A

 

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I did a question & answer for the main newspaper of north Wales, The Daily Post. Peter went to get a haircut at the barber shop in Aberystwyth, and our friends there had very kindly set aside a copy for us. I answered the questions so long ago that I’d almost forgotten what I’d said. Here’s the transcript:

Your name:

Clive Hicks-Jenkins

How old are you?

Sixty-six.

Where are you from?

Newport, Gwent.

Tell us about your family

My father was a wayleaves officer with the South Wales Electricity Board. He was responsible for brokering contracts between SWEB and the landowners/farmers whose acreage needed to be crossed by power lines. But because he was a countryman and loved the landscape, he was an artist when it came to placing them where they’d least be visible, hiding them in valleys and along the edges of woodlands. My mother was a hairdresser. She loved films and from an early age she took me every Saturday afternoon to the cinema. Never to see kids’ films though. She loved more dramatic fare, and so my tastes were quite unusual. I don’t know how she bucked the certificate system. She probably knew the local cinema manager and bargained haircuts against him turning a blind eye to a seven year old watching Bette Davies melodramas!

What are you best known for?

Probably my Mari Lwyd-themed series of 2000-2001, The Mare’s Tale. I had an exhibition of that name, and it made quite a splash. There was a book of poetry by the late Catriona Urquhart that accompanied it, and in 2013 the composer Mark Bowden and the poet Damian Walford Davies made a chamber work of the same name, based on the underlying narrative of a psychological haunting.

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Tell us about your exhibition (what’s it called, what’s it on/where is it being held?)

The exhibition is at Oriel Tegfryn, Menai Bridge, and it’s the result of four years of exploration on the theme of Hansel & Gretel.

When is it running from/to?

Sept 1st – Sept 24th.

What can people expect?

Last year the publisher Random Spectacular commissioned a picture book from me that was based on the fairy tale. As my version is very dark it’s been marketed as being more suitable for adults. (It’s been described as ‘George Romero meets the Brothers Grimm!)

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Simultaneously I was commissioned by Benjamin Pollock’s Toyshop in Covent Garden to design a toy theatre assembly kit of Hansel & Gretel. This has been quite a thrill. I played with a Benjamin Pollock toy theatre when I was a child, and so it’s a great privilege to be asked to make a new one to bear his name. Published this summer, in contrast to the picture book it’s a sunnier affair, quite suitable for children. Even so I put my own visual spin on it. You won’t have seen a Hansel & Gretel quite like it.

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The Tegfryn Gallery exhibition consists of all the artworks made for the picture book and the toy theatre, plus illustrations for Hansel & Gretel alphabet primers that I made several years ago. Prepare for a Hansel & Gretel Fest!

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Tell us five things which make your exhibition great?

1) Scary and beautiful is an alluring mix!

2) I can guarantee it’s not going to be like anything you’ve ever experienced at Oriel Tegfryn.

3) What’s not to love about art in which family dysfunction, unhealthy appetites and manslaughter are the principal themes? This is a fairytale for the soap generation.

4) There are Liquorice Allsorts deployed as weapons and gingerbread men that bite back!

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5) If you want to know what horrors lie beneath a witch’s prosthetic nose, then this is the exhibition you’ve been waiting for!

Tell us what’s good about the venue

It’s a warm and welcoming gallery with wonderful staff. Visiting Oriel Tegfryn is like calling on friends who are always pleased to see you.

Who is your favourite artist and why?

The ‘who’ is George Stubbs, and the ‘why’ is because he painted animals with unparalleled compassion. His Hambletonian, Rubbing Down may be numbered among the world’s greatest equestrian artworks.

What piece of work are you most proud of and why?

Green George. It’s in a private collection here in Wales. If you type the title and my name into a search engine, you can see it. I paint only for myself and I never think about who might purchase. I made Green George as a painting I’d like to live with, though in fact I never did. It was finished only days before being shipped to the gallery, and it sold immediately. I knew even as I painted it that I was riding the wind. I couldn’t have bettered it.

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Tell us a little known fact about yourself:

I once played Batman’s nemesis, the Riddler, in an American musical.

What are your best and worst habits?

I’m a fiercely loyal and loving friend. But I’m also implacably unforgiving when betrayed. It’s an unattractive trait.

What’s next for you? What are you currently working on, or what do you plan to work on?

I’m on the last lap of a fourteen print series on the theme of Sir Gawain and the Green Knight in collaboration with Daniel Bugg at the Penfold Press. The press has been publishing the series sequentially. The art historian James Russell has been writing accompanying texts. It’s been a wonderful experience.  The Martin Tinney Gallery is having an exhibition of the work in January.

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Then I go into rehearsals for a new music theatre work of Hansel & Gretel that I’m designing and directing. The production opens in London before embarking on a year long tour.

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On Art and Images

I have never been busier. (I haven’t yet quite worked out why.) I have one-person exhibitions both imminent (September and January) and planned for further ahead. There are promised book covers for several authors and a big, as yet unannounced project for a major publisher. There’s the October exhibition I’m curating for the Royal Cambrian Academy and ongoing work on the stage production of a new chamber music work which I’m to design and direct next year. There have been and continue to be commitments to lecture at various universities and art colleges. Right now the Gawain and the Green Knight project in collaboration with Dan Bugg of Penfold Press is the most pressing occupation, as we have to finish the planned fourteen prints by end of December. I guess I’ve always been an active person in terms of planning ahead, but this… this schedule is extreme, even for me.

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Because of my increasingly busy diary, I have less time to write here at the Artlog. Occasionally I’m halfway through a piece when other matters intrude and I have to turn my attention elsewhere. But this morning I sat down to type a reply to an e-mail addressed to me via my official website, and in the writing of it I expressed something I thought I’d share here. While both unexpected and brief, I realised nevertheless that the simple idea expressed to my correspondent, was massively and personally significant in terms of how I see the world.

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‘As I get older I begin to see that all creative endeavour is linked. I may be first and foremost an easel artist, but I know that books in all their diversity have helped make me the man I am. It’s fitting that in what must by any measure be the last quarter of my working life, I have found myself being given opportunities to work in the field of books, both in the making of covers for writers I love and admire (Marly Youmans, Damian Walford Davies and Mary Ann Constantine), and more recently in the picture book of Hansel & Gretel for Random Spectacular. The book illustrations in my head – and they’re still there, carried since childhood – are as potent as any of the magnificent paintings I experienced in galleries and cathedrals that came later. So Picasso sits companionably alongside Beatrix Potter, Klee alongside Alfred Bestall and George Stubbs alongside Arthur Rackham, and it’s right that they do. My affection for the illustrators has never been displaced by my love of the great artists, and the interior of my head, if you could see in there, bears testament to that truth.’

Picasso

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Potter

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Abergavenny Music

 

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Twenty seven years ago my friend James opened his music shop in Abergavenny. I designed and painted the lettering on the board above the window and on the hanging sign that led shoppers along the street to it, together with the shop’s logo of two wyverns, their tails entwined with a lyre. The signs have been repainted many times since those early days, but though the livery evolved from gold lettering on a turquoise ground to what you see now, the typography and the wyverns have remained unchanged.

For the several years James had a satellite music shop in Castle Arcade, Cardiff, at his generous invitation I set up my studio in the cellar beneath it, a shared space that was also the shop’s staff and stock room. No windows and bitterly cold in the winter, nevertheless in memory it remains the studio I was happiest in. I painted the entire series of ‘The Temptations of Solitude’ in James’ cellar, and my first Annunciation, with pianist Semra Kurutac, who worked part-time in the shop, modelling for the Virgin in her lunch and coffee breaks.

The Castle Arcade shop closed many years ago, before Peter and I moved from Cardiff to west Wales. Now Abergavenny Music, too, has closed its doors. It’s been on the cards for quite a while, though James’ sudden illness has precipitated what had been planned anyway. Life will not be the same in Abergavenny without my friend’s shop, his wonderful staff and his deep knowledge of music, so generously shared.

Peter has written below about the closure of Abergavenny Music.

Abergavenny’s specialist classical music shop, Abergavenny Music, will close on 29 July owing to the illness of the owner and founder, James Joseph. For more than quarter of a century it has been a big part of the lives of Abergavenny and a world-wide community of music enthusiasts.

James established Abergavenny Music 27 years ago. As a talented musician who had worked in production across the UK and Europe, James wanted to create his own perfect music shop, characterised by wonderful stock and expert service. He and his wife, the artist Sarah Thwaites, chose Abergavenny as the place where they wanted to settle down and have a family.

He took premises at 23 Cross Street and made them into a stylish and airy space that became a treasure house of music. The shop sold recordings, videos, sheet music and books, and customers came from far and wide. One of its qualities from the start, set by James’s own quiet and unassuming style, was as a place where people felt welcome to browse for as long as they liked, listening to current recommendations playing through the sound system. The shop felt like a creative space – a focus of chance meetings and a place to make new friendships.

The excellent staff over 27 years have included bright youngsters given their first job opportunities and many professional musicians who were able to supplement their incomes knowing that James would change schedules at short notice if performing opportunities came up. Customers came to expect a service very different from any they would get from HMV or Amazon thanks to the eagerness of James and his colleagues to find answers to obscure questions, research just the right recording or locate scarce scores.

For several years James expanded the operation with a sister shop in Castle Arcade in Cardiff and after that a stand in Ross-on-Wye but the changing landscape of multinational online retailers and downloading has challenged the survival of in-person music retailing everywhere. He kept Abergavenny Music open long after most people would have closed the doors because he loved to be in that calm, music-rich environment and to provide a service.

James has received many messages from people who have been grateful for everything the shop has been over the years. Angela, Kaye, Rosie and Lindsey continue there until the doors close for the last time on 29 July.

Peter Wakelin

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