About Clive Hicks-Jenkins

I am a painter, born and living in Wales. I show with Martin Tinney in Cardiff and my work can always be found at his gallery. (Click on second link)

Silence in the Woods

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Forgive the silence at the Artlog. The reason is simple. Right now I am consumed with completing the Hansel & Gretel Toy Theatre Kit for Benjamin Pollock’s Toy Shop in Covent Garden. It’s quite a complicated job, designing something not only beautiful, but that also works in terms of being relatively simple to cut out and make. This morning I’ve been writing the assembly instructions and I don’t think in my life I’ve felt quite such a burden of responsibility for making words clearly convey meaning. (I recall all those cut-out toys of my childhood that went horribly wrong because the instructions misdirected me!)

But the silence is largely due to being unable to share the images I’m producing, because the people at Pollock’s understandably want to keep the design under wraps until the launch. Everything has to be a secret until then.

But I can tell you that there will be plenty of scenery by way of back-cloths and cut-cloths, with kuchen-cottages, gloomy kitchens, blazing ovens, haunted woods and confectionary galore. Moreover this production should satisfy the most ardent toy theatre enthusiasts with the number of characters I’ve managed to fit in into a small space, including – apart from the usual suspects – the Witch’s Cat, a friendly Duck, some Gingerbread Men and a couple of Monster Trees.

Scissors and glue at the ready!

Gawain and the Green Knight: ‘The Travails’, from start to finish.

I had a choice of encounters to explore visually. In the poem, while on his journey to find the ‘Green Chapel’, Gawain battles and vanquishes various creatures, including wolves, ogres, serpents and woodwoses. Woodwoses are ‘wild men’, shown as shaggy of body in early manuscripts, often wearing garlands of leaves to bind their snaky hair.

Below: Woodwose from the Speculum Regale (King’s Mirror).

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I came close to showing Gawain locked in combat with a woodwose. I liked the idea of rendering all that shaggy fur.

Below: early sketch of Gawain disabling a club-wielding woodwose .

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But in the end I decided that the composition would benefit  from a non-human form. I’d already explored a man in combat with a dragon in a series on the theme of Saint George, and so I returned to a composition devised for Battle Ground, made in 2007.

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In Battle Ground Saint George is in the dragon’s grip. By contrast in The Travails Gawain stands poised, shield raised for protection and his right arm thrusting home the killing blow. It’s an hieratic image, full of tension but not in any way, despite Gawain’s windblown hair, kinetic. I wanted the sense of a frozen moment.

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Once the composition was established, I began working on a detailed drawing to guide the painting. I brought out the dragon maquettes made originally as compositional aids for Battle Ground .

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Below: the finished painting of The Travails.

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Work begins on rendering Gawain and the dragon in lithography crayon, ink and paint on layers of transparent plastic. These are called ‘stencils’, though that’s a bit misleading because there’s no cutting involved as there would be with the kind of stencils you might use to decorate walls or furniture.

Each layer of these screenprinting stencils represents a single colour for the eventual printing process. The sheets are fixed with registration pins over a ‘master drawing’ that guides me as I build the image.

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As the layers of of the drawings increase, the image darkens.

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Once the layers have been completed, they’re dispatched to the Penfold Press where Daniel Bugg processes them into screens for printing. The screens are made of micro-fine mesh stretched over frames. The mesh is coated with photo-sensitive emulsion that allows my drawings to be ‘fixed’ in such a way that when ink is squeezed through the screen, it prints the image onto the underlying paper. Each colour requires a separate screen.

Once Dan has the screens prepared he mixes colours and the process of printing and proofing begins. This is the point at which we get a sense of whether I need to do further work on the existing stencils. If required I add new ones. We make decisions on how to manipulate the layers of colour to achieve the desired effects. For The Travails many proofs were made, some of them transforming the image quite radically from the original painting.

Below: early stages of proofing.

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Below: At this stage, Dan points out that I’ve forgotten to make a layer of gold for the falling leaves. The background is darker than in my painting, but the fact is that the intention is to make a printed image with qualities in its own right and not a reproduction of the painting. The painting is really just the starting point of a new creation through the medium of the screenprint.

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Below: a brighter blue for the background better approximates the original painting, but is nevertheless unsatisfactory. The colour of the dragon too, gets closer to the original, though we both agree it has too much of a resemblance to chewing-gum.

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Dan and I reference the painting (below) throughout the early stages of the printmaking, though we quickly realise that the background blue and the colours of the dragon and Gawain are too tonally alike for the combination to work as intensely as I want for the screenprint.

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Below: Dan tries a more radical approach. The background darkens and the dragon turns the colour of a plum. I like this one a lot, though we feel that the dragon and Gawain need to be closer in tonal value in order to better balance the composition. Gawain is catching the eye too much.

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Below: Dan has added a layer of texture to the dragon using a stencil I’d made for another print. The background has become even inkier and Gawain’s red is really popping. The outline of the dragon is crisp. We’re both satisfied. This is the final proof, the one on which the edition will be based.

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Curator and art commentator James Russell writes of the print:

Armoured but helmetless, his shield held staunchly before him, Gawain plunges his spear into the breast of a serpent. Fans of Clive’s work may recognise the grinning beast with its ghastly scaled body as a relative of the dragon battled by St George in a memorable series of paintings, but this is a different kind of image for a different kind of story. The tale of St George would have been familiar to the Pearl Poet’s original audience, as would a host of quest narratives and stories of bravery in which the slaying of a dragon or similar beast represented a culmination. Victory proved the knight’s valour and therefore his moral worth. Not so in the case of Gawain.

In one short if vivid passage we learn of his journey in search of the Green Knight’s home, the Green Chapel, in which he vanquishes a menagerie of medieval monsters. Wolves, bears, giants, woodwoses, serpents… none can match him. He proves his strength and courage again and again, but these battles are little more than ritual acts. The world has moved on, and when he undergoes his true test he will not even know he is being tested.

In portraying St George, Clive presented the sinuous form of the dragon and the limbs of the knight twisting together in violent struggle, but Gawain is not wrestling this beast. He is dispatching it, calmly and resolutely. Is it his virtuous shield with the painting of Mary that empowers him? Or is he simply too strong for mere serpents? Or are these easy victories set up for him, to inflate his pride? The falling oak leaves suggest that we are already within the Green Knight’s domain…

 

James Russell

 

Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press opens at the Martin Tinney Gallery, Cardiff, on Thursday 8th Sept. The exhibition runs until October 1st.

The Artist Watches

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Some years ago I was in Oxford with Peter. He must have had an appointment somewhere because I was alone for a few hours enjoying a book-buying spree in the city centre. While sauntering along minding my own business I saw three people strolling toward me, a man and two women. Age hard to guess, but he looked to be in his thirties or early forties, and one of the women was older, though not so that you’d notice. The three were arm in arm, him in the middle, and they were laughing and clearly enjoying themselves. They were beautifully dressed, the man in one of those generously cut heavy woollen overcoats that cost as much as a small car, the women in understated shirtwaist dresses under long, swinging cardigans. A smattering of discreet jewellery. Fantastic, glossy hair, all three of them. Definitely not British. I think I heard Italian as they passed, but my heart was drumming in my ears and so everything sounded as if I were underwater.

I stood transfixed, turning to watch them, book-filled carrier bags around my feet. He was half a head taller than his companions. They looked as though they owned the day. Magnificent. His beauty was heartstopping.

I followed them. Oh, not for very long – I’m not a stalker – but I just wanted to drink in more.  Hurtling down a side street I managed to loop round and get ahead of them, and by dint of pretending that I was waiting for someone – I even checked my watch to appear more convincing – I stood where I could get a better look.

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The subterfuge was unnecessary. They were absorbed in the moment and in each other. I could have been in a Mickey Mouse costume and they wouldn’t have noticed. Looking at his broad back as he and his companions disappeared into the Oxford crowds, I thought faintly, where the fuck do you go to get that hair, that skin, those teeth, that mesmerisingly deep voice, height, physical ease and presence? I felt like a hamster watching a puma walk past.

His face has never left me, etched sharply by whatever chemistry surged through my brain at the sight of him. Here he is, at the top of this post, reinvented as Bertilak de Hautdesert.

 

 

The Knight and the Virgin

Making a screenprint.

Rough sketches. There were several of these, but the one below was the guide to the study painting.

Below: working the face in some detail on mountboard before beginning to lay on paint. The drawing disappears almost completely under the first layer of gouache, but by that time it is already ‘locked’ in my head.

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The Virgin and child painted onto the lining of Gawain’s shield begin to take shape.

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Gawain’s helmet plume. Gouache and pencil.

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Camelot, worked in sgraffito and pencil. The ground is heavy, acid-free mount-board that allows for the inscribing with a needle.

Rendering in gouache and pencil.

The finished study. Gouache, pencil and sgrafitto on board.

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The composition re-drawn as a ‘master-drawing’ to guide the process of making stencils on separate layers of transparent film. Each stencil represents a single colour in the printmaking process.

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Camelot rendered in wax crayon on transparent film. In the study, the ‘etched’ look was created by using a needle to ‘indent’ the card, and then working pencil over the top. With the stencil I had to use a technique more akin to scraperboard, wielding a needle to clear areas of the wax drawing. It was massively time consuming as the sticky wax detritus had to be constantly brushed away before it got stuck back down by the pressure from my hand resting on the surface. This stencil, which is a small section of the composition, took two days to complete.

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Layers of transparent film create the quality of mark and tone Dan and I were looking for. The stencils are all made in black and red. No point in working in colour at this stage. It’s easier to see what’s going on in the layers by simplifying. The pattern on the inside of the shield was particularly taxing. In the painting the pattern was made by using yellow ochre whipped in with a fine brush over the top of the red. For the printmaking, the ochre has to under-print the red, and so all those pattern marks on the stencil had to be painted around. A long day’s work.

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More layers of stencils. Even though they’re transparent/translucent, eventually it becomes hard to see what’s underneath the top five or six layers.

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The stencils fixed in place with registration pins to assure correct alignment. The colours at right are the guide for Daniel Bugg. Each corresponds to a layer of stencil. The big brush is to dust the stencils and keep them free of detritus, though usually a few stray hairs from Jack end up in there.

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This is how Gawain looked when composed of all the layers of stencils. Quite sooty!

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Proof stage by Daniel Bugg. The two stencils for the colours shown here have been processed as screens by Dan. Each screen is made of microfine mesh stretched on a frame, through which the printing ink is squeezed to make the impression.

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Proofing stage.

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Adding one of the black screens to the proofing stage, to check how things are looking.

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Another proof, this time adding shades of ochre before laying in the black. Red and cobalt teal laid over each other make a rich, bruised purple.

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Below: the finished print.

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The Armouring of Gawain. 2016.

Screenprint. 55 x 55 cms. Edition of 75.

Opening 8th September at the Martin Tinney Gallery, Cardiff

Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press.

Prints, paintings and drawings exploring the medieval poem

Invitation to ‘Gawain and the Green Knight’

Please join us if you are able at the opening of:

Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press

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Prints, paintings and drawings on the theme of the medieval poem

Thursday 8th September, 6 pm – 7.30 pm at

The Martin Tinney Gallery

18 St. Andrew’s Crescent, Cardiff. CF10 3DD. +44 (0)29 2064 1411

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Exhibition runs from Thursday 8th Sept to Saturday 1st Oct, 2016

Art commentator James Russell writes of the Penfold Press collaboration between artist Clive Hicks-Jenkins and printmaker Daniel Bugg:

“The story is the kind you might find in The Mabinogion. Sir Gawain is more human than your average legendary hero. Having taken up the challenge offered at the Camelot Christmas feast by the terrifying Green Knight, he embarks on a quest to find this ogre, only to be tested – and found wanting – in unexpected ways. Sir Gawain is both a glittering knight and a fallible young man, and it is this flawed human character that intrigues Clive. Each print is inspired by the text and rooted stylistically in its world, but beyond that Clive and Dan have allowed their imagination free rein.”

 

 

 

Print N0. 7: Gawain Arrives at Fair Castle

Work has begun on the seventh print in the Gawain and the Green Knight series. Titled Gawain Arrives at Fair Castle, much of the poem’s narrative takes place within the walls of Bertilak de Hautdesert’s sumptuous home. Here Gawain will find rest and succour and be treated as an honoured guest, though his stay is made awkward by the seemingly amorous attentions of Lady Hautdesert. All is not quite as it appears, though he won’t find out until after he’s left the castle what deceptions have been practiced on him.

Here’s a clean drawing laid out ready for me to start in with the colour.

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Fair Castle is reinvented here as a gold and enamelled Byzantine citadel. The steep ascent spirals the crag on which Fair Castle perches, and Gawain’s horse, Gringolet, looks uneasy at the prospect of climbing it.

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Pollarded trees reference the tattoos of the Green Knight seen in an earlier image.

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Above, detail from The Green Knight Arrives.