Sugar Rush

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Above, the Witch meets a bad end, shoved into a cauldron of molten Foam Shrimps, Jelly Beans, Glacier Mints and Liquorice Allsorts!

My task of illustrating Simon Armitage’s poem Hansel & Gretel: a nightmare in eight scenes, has been completed. It has been the most exciting work, especially coming at the conclusion of rehearsals for the stage production of Hansel & Gretel that I directed for its six month tour with the Goldfield Ensemble..

One of the things about any text presented on a stage, is that there never seems quite enough room within the short duration of a performance – especially one in which the words are set to music – to explore it as thoroughly as can be managed in a book. So the Design for Today edition of the text is my opportunity to really foreground Simon’s magnificent wordplay. A couple of weeks ago I carried all the original artwork in portfolios to London to deliver to Joe Pearson at Design for Today, and everything is currently being scanned, cleaned, layered and coloured by Joe and his assistant, Laurence.

I’m cock-a-hoop with the design for the book, which is just perfect. It’ll be out in the Spring. Stay tuned for updates re. pre-ordering, plus news of the special edition. (Which will come with two additional images printed by Dan Bugg at Penfold Press.)

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Sir Gawain and the Green Knight: fourteen paintings

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For every one of the fourteen screen prints in the Penfold Press Sir Gawain and the Green Knight series, I first made many sketches before producing at least one preparatory painting, and sometimes several. Here are fourteen of the paintings produced toward the printing process. Some are in private collections, and others will be in the forthcoming exhibition at the Martin Tinney Gallery.

 

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Above: Christmas at Camelot. Private Collection

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The Green Knight Arrives. 2016. Private Collection

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The Green Knight Bows to Gawain’s Blow. Private Collection

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The Green Knight’s Head Lives. Private Collection

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The Armouring of Gawain. Private Collection

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The Travails. 2016. Gouache and pencil on board. 55 x 55 cms

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Fair Castle: Study for Gawain Arrives at Fair Castle. 2018. Gouache, ink and pencil on board. 55 x 55 cms

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Reynard and the Slaughtered Peacocks: Study for The Three Hunts. 2017. Gouache, ink and pencil on board. 55 x 55 cms

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The Happy Rabbits: Study for The Temptations. 2017. Gouache, ink and pencil on paper. 55 x 55 cms

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Vessel: Study for The Exchange. 2017. Gouache, ink and pencil on board. 55 x 55 cms

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The Source: Study for The Green Chapel. 2017. Gouache, ink and pencil on board. 55 x 55 cms

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Suit of Lights: Study for Gawain Staunches the Wound to His Neck. 2017. Gouache, ink and pencil on paper. 55 x 55 cms

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Out of the Fire: Study for Morgan le Fay. 2017. Gouache, ink and pencil on board. 55 x 55 cms

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Shadowed: Study for The Stain of Sin. 2017. Gouache, ink and pencil on paper. 55 x 55 cms

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Clive Hicks-Jenkins and the Penfold Press: Sir Gawain and the Green Knight – Part II

The Martin Tinney Gallery, Cardiff

10th January – 27th January 2018

Private View Wednesday, January 10th, 6 – 7.30pm

 

Mapping the Tale: image making and the narrative tradition

Quite early in my career as a painter I began examining ways to create narratives in my work. To begin with those developed from my own stories and were essentially biographical. My father’s childhood fears and how they impacted his life and death were the source material of The Mare’s Tale. In many ways those were mood pieces, with the narratives forming underlying supports to material that for viewers could be interpreted personally and in diverse ways. I think of them now as more like orchestral compositions in which the character of the music carries listeners to their own imaginative spaces.

Tend, 2002. Private Collection

Later I painted several Annunciations, drawn by the drama of the New Testament account, and made a series of paintings, The Temptations of Solitude, based on episodes in the Lives of the Desert Fathers: a hermit dwells in a tree, attended and fed by an angelic visitor, and a cruel slave-master pursues a fleeing couple across a wildernesses, only to be stalked and devoured by an avenging lioness. I was discovering, perhaps as a legacy of my many years working in the theatre, that the type of paintings that interested me most were ones that told stories.

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The Comfort of Angels Attending the Dying, 2004. Private Collection

Outside of the recent Hansel & Gretel illustration project for St Jude’s and Benjamin Pollock’s Toy Shop in Covent Garden, the work on Gawain and the Green Knight has been my most comprehensive and complete exploration of a narrative to date. Using the poem as my guide and inspiration, the intention from the beginning was to make fourteen sequential and editioned prints that would tell the story, though for every print to be stand-alone in the sense that I wanted each to work whether viewed as a single artwork, or as a part of the series.

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The Armouring of Gawain. Screen Print. 2016

The process of building an image that encodes not just the narrative ‘moment’, but also has a sense of linkage to what’s transpired and what will come after, takes planning and endless trial and error. Every image has to be built from scratch: composition, colour, tone, and mark-making all serving the narrative. Imagined landscapes, gardens and castles must be conjured, as well as interior spaces and their furnishings. Characters, shown once or repeatedly have to be realised, complete with garments, hairstyles, armour and weaponry. When appearing repeatedly there has to be a balance between keeping a likeness, and yet allowing for physical and psychological change. Arthur, Guinevere, the Lord and Lady of Fair Castle and Morgan le Fay each appear just once in the print series, whereas the Green Knight and Gawain occur repeatedly. In the fourteen prints there are three featuring horses, plus images of hunting birds, a stag, a boar, a fox and several peacocks. Each had to fit within this particular imagined world. Then there’s the need to honour the source material, in this case the 2007 translation by Simon Armitage. I wanted to make a visual response to his text rather than try to represent it illustratively, and to do that I had to steep myself in his words over a long period. The small, hardback Faber & Faber first edition was never out of my pocket. I can recite quite long sections of it, committed to memory by repeated reading.

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Above: building a print with layers of lithography film, each of which will be printed in a single  colour.

For me responding to a text is all about finding the spaces between the words and then colonising them. I invest the characters and events with my own imagined detailing, layering invented elements onto what’s provided by the text. In this way the enchantress Morgan le Fay, who’s only mentioned in the poem by another character, gets a whole print to herself, while the Gawain of my images sometimes appears in ways not found in the poem. He binds his wound with the green sash given to him by the Lady of Fair Castle, and by the end of the series his armour has transformed itself with foliate embellishments, while the back of his hand has been marked with a branching stigmata.

Though the prints were not made specifically to accompany the text, I want anyone looking at them while reading it to discover that the words and images are in dialogue. Gawain begins the story as a glittering young knight, unmarked, privileged and unproven. By the end of it his face is shadowed, his hair is shorn to stubble and he is all too aware of his shortcomings. It’s all there in the title of the final print: The Stain of Sin.

Below: the magical transformation of black and white to the luminous, transparent coloured inks of the final print.

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

opens at

The Martin Tinney Gallery

on January 10th, 6 – 7.30 pm.

Fourteen prints on the theme of the narrative poem, plus paintings and drawings.

 

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Painting the Enchantress: part 1

 

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Stage snapshots of a gouache and pencil portrait of Morgan le Fay made as a study for a print in my Gawain and the Green Knight series. While she doesn’t appear in person in the poem, the enchantress is referred to by another character as the architect of the magic at the heart of the narrative.

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Print No. 13: The Sorceress

Morgan le Fay is the architect of magic in the poem of Sir Gawain and the Green knight. Here she evolves from drawing through the multiple stencils that will produce the layers of colour in the finished print.

The drawing is made on board and underlies the transparent stencils throughout the process of rendering them, providing me with a guide so that everything aligns. The plastic layers are held in place with alignment pins and punched tabs.

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I make textures using a scalpel to cut through lithography crayon.

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Opaque red oxide paint is used to create flat areas of colour in the finished print.

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The colour samples will guide Daniel Bugg when mixing the inks for printing.

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Texturising the beast’s pelt and modelling with shadow.

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When overlaid the layers of stencils get very dark. Everything will look completely different when printed in colour.

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The outlines of Morgan le Fay, her beast, the flames springing from the beast’s feet and the flowers diapering the composition, have to be carefully drawn around in order to create the background. Because the background is to consist of three layers of colour, the process has to be completed three times, which is both time consuming and a tad boring.

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The flames are rendered to lend form.

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Here the image has been photographed with just three layers of stencils. There are seven stencils required for the finished print, but when the seven are layered they become so dark that the image doesn’t photograph well.

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Print No. 12, as yet untitled

Gawain stands in the Green Chapel. His elaborate armour was cleaned of rust and polished back at Fair Castle, but now it’s further transforming with burgeoning engravings of foliateness and a constellation of stars emerging on his breastplate.

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He reaches toward his helmet, removed in order to take the Green Knight’s blow, and out of which greenery is spewing.

IMG_1997Gawain has fulfilled the oath made a year ago in Camelot. He’s knelt before the Green Knight and submitted to his axe, but has escaped with nothing worse than a parting of the flesh at the back of his neck.

He’s staunched the wound with what he had to hand. Throughout the series of images items have fluttered upwards: pennants, cloaks and helmet plumes, and now the girdle secretly gifted to him by the Lady of Fair Castle streams out, an embroidered stand-in for what might so easily have been his life’s blood.

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These stencils have been the most complicated to date, mainly because of all the background filigree work, duplicated on four layers. Now I await the first proofs from Daniel Bugg at Penfold Press.

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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