Publication Day, May 24th!

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After a year in the making, the published edition of Hansel & Gretel: a Nightmare in Eight Scenes, is about to launch. It was a pleasure from beginning to end, made so by the commitment of the small team who worked tirelessly to realise it. We shared an ambition to make something lasting and fine, and I believe we did just that.

My heartfelt thanks to Simon Armitage, who entrusted the project to me, and to publisher Joe Pearson at Design for Today, who unhesitatingly took up the challenge and then didn’t stop until everything was perfect. Thanks and admiration for Laurence Beck at Design for Today, who so beautifully designed the book. Huge thanks too to my regular collaborator Pete Telfer, who has been present at all stages of the Hansel & Gretel adventure, and was my cameraman and editor on the animations and film sequences of the stage production, as well as the book-trailer shown here.

And finally my warmest appreciation to the team on the stage production, whose unfailing creativity and cheer buoyed me up when the waters got very choppy: Di Ford and Lizzie Wort, Jan Zalud, Oonagh Creighton-Griffiths, Jonathan Street, Peter Lloyd and Phil Cooper. Every one of you, a hero in my book!

 

Clive Hicks-Jenkins, May 2019

May Day 2019

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May Day, 2019

It strikes me at this distance from Catriona Urquhart’s death – she left us in 2005 – that I should have been commemorating the date of her birth these past fourteen years, not the day she left us. However all those who knew and loved Catriona, are conscious of the significance of the date of her death, and so May 1st has become the default anniversary when I dedicate a post to her here. She had the warmest spot for May Day, and all the histories and mythologies knitted into it. Her life partner, Ian, and all her family, felt that she’d delayed her death to coincide with it. I don’t know what I feel about that. I’m still numb at the recollection of it.

Catriona first came upon me when I was lost, and thereafter quietly set about rescuing one who she perceived to be struggling. I thought it strange that I’d attracted a new friend, and couldn’t for the life of me figure out why she’d taken up with me. Of course I know now that she’d noticed how unravelled I was – and how free-falling – and she’d just reached out and caught at the broken tethers trailing in my wake, halting my drift. Emotionally anaesthetised, I was barely aware of what was happening. She wasn’t at all intrusive, but she kept a very close eye on me. I can see now it was an extraordinary thing to do, but she was a woman of heightened intuition, and saw things that others missed. The long story must be one for another time, but for today I wanted to remember and tell how she lightly caught and then strongly held me, and halted what I’m sure would otherwise have resulted in a bad outcome.

In time I recovered myself and healed, and we two became mutually supportive friends, our relationship evolving. We embraced others, though we were always most ourselves when alone together. I met Peter, and he and I and Catriona and Ian became friends as a group. She and I encouraged each other in enthusiasms and growing ambitions. We became collaborators on a series of work that would change my creative trajectory, and resulted in the publication by the Old Stile Press of her elegiac poetry cycle based on my father’s life, The Mare’s Tale. We were sometimes impossible together, exasperating others, and especially our partners. We snuck off on adventures that we kept secret. We relished a mutual appreciation of odd things others thought plain silly. Catriona could be sharp as needles and witheringly intolerant of what she saw as self-aggrandisement and puff, and she could make me fall over with laughter when she turned her wrath where she thought it most deserving. But she was also full of goodness, and had a radar for spotting an aching psyche that needed the balm of nurture.

During bad moments, I still ran for her company like a lost puppy. In the early days of my relationship with Peter, I walked out on him, though when he found I was gone, he knew well enough where to come looking for me. I was sleeping like the dead at Catriona’s, exhausted from a volcanic outpouring of rage and desolation. Awaking to find him sitting on the bed next to me, one hand on my shoulder, the other offering a cup of tea, it turned out she’d explained things to him as I’d been unable to, and all was forgiven and restored.

I miss her as sharply as I did on the day she died. These things don’t go away. We just learn better how to accommodate them.

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Long, long ago, Catriona gave me a sapling walnut tree. It was about fifteen inches high, barely more than a stick in a pot. For about seven years it languished, clearly unhappy in the pot, but our city garden was too small to take what might grow into a large specimen. When we moved to Ty Isaf, it came with us, and was finally liberated into open ground. And a pretty diminished thing it looked at the time, after its long captivity, and moreover with its tap-root rotted away, we discovered, because the pot was not well drained.

Twelve years on it’s twenty feet high and in rude health. Every summer it puts out a spectacular canopy. I see it plainly from all the front-facing windows of the house, pass it whenever I walk in the garden,  follow the progress of its fruits, sit under its shade in high summer and read. It’s where I go to talk to Catriona.

 

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Catrina Urquhart

1953 -2005

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Making the Myths Map

Since February my working days have been pretty much filled with the Myths Map/Telling Tales project commissioned by English Heritage. My brief was to conceive and create artwork for an interactive map featuring myths, legends and folklore associated with selected E.H. sites. Working closely with Gravitywell, the Bristol-based digital agency charged with building the map, I’ve produced all its assets, including the English Heritage Myths Map logo through which the site is entered (see below), the map outlines, textures and topography, the settlements and the E.H. site icons.

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Below: George and the Dragon were built as paper maquettes and then scanned, digitally assembled and animated for the map logo

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Below: drawn elements used to create the settlements of the Myths Map

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Below: some of the many English Heritage site icons I produced for the map

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Animated elements for the map and sea surrounding it, were made by me and digitally animated by Gravitywell. There are deer and birds for the land, and assorted sea monsters for coastal zones.

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Below: Photo credit: © English Heritage/ Abi Bansal

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Below: Kraken maquette and ships

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Below: in the studio I roughly layered elements to guide the animators

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In addition to the map assets, I’m making animation maquettes for use in films being produced by English Heritage about some of the sites and the myths and legends associated with them. The first of these is St Hilda of Whitby, who founded Whitby Abbey and according to legend asked God’s help to clear the site of vipers so the building work could be carried out in safety.

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My attachment to the Telling Tales project extends to producing illustrations on the theme of Myths and Legends for English Heritage Magazine throughout the year, the first of which has been Saint George and the Dragon for the Spring edition.

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No project of this scale can get to completion without the cooperation and collaboration of many, and the Myths Map teams at English Heritage and Gravitywell were sterling throughout. Enthusiasm and appreciation were boundless at every stage, which made the experience a pleasure even when the hours were long and the ‘to-do’ lists were endless. As an artist much of what I do is solitary, but on Telling Tales the sense of work carried out in partnership with enthusiasts, has been the chief pleasure of the project. I’m so pleased it came my way, and my thanks to those who sought me out to play a part.

Click HERE to visit the Myths Map

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The Kraken Surfaces…

… in an animation that’s just a marginal detail – like a tiny but telling image in the border of an illuminated manuscript – within a project I’m working on for English Heritage, the launch of which will be announced soon.

 

The animation began with the construction of a simple maquette of the Kraken, and a drawing of the stricken ship.

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Below, the maquette is placed over the drawing to give a rough impression of how the two will work together.

 

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The schedule allowed for only minimal animation, and to that end the Kraken was a simple build from two layers: a top one of the head with four tentacles, and a layer beneath with two tentacles. While we didn’t have the time to produce a more elaborate ‘coiling’ animation, the two Kraken layers moving independently of each other give an impression of writhing tentacles. All of the animations for this project have to run on loop, and to that end have been designed as tiny narratives that have a start and a finish, and can endlessly repeat.

The Kraken and ship were scanned and delivered, along with my animation storyboards, to our collaborators at the Bristol-based Gravitywell, an award-winning digital agency that develops websites, iphone/android apps, and SEO services. Laura-Jane Alison is project manager at Gravitywell keeping us all to schedule, and Matt Doyle is the lead designer responsible for the animated sequences. I think you can very likely tell from the Kraken animation that we’ve been having a lot of fun with the project. The scans have been digitally coloured according to the palette agreed between me and English Heritage’s supervising art director for the project, Becky Baker.

Artists and illustrators have long been drawn to the notion of sea monsters going head to head with ships, and there’s no shortage of visual material exploring the theme, both historic and contemporary.

 

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The Kraken is a particular favourite of tattoo artists, and in a painting I made some time ago of an inked fisherman, I added a tattoo of a giant Nautilus reaching out to grasp a clipper.

The main source of inspiration for the Kraken in my animation, is this illustration by Denys Montfort in Histoire naturelle, général et particuliére des mollusques: animal sans vertébrés et a sang blanc, Volume 2, published in 1801.

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But for those of you who remember him, I suspect I’ve been channeling the spirit of Captain Pugwash.)

 

The Soldier’s Tale Rebooted

 

 

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Earlier this year a student at the university, Job Wan, contacted me to ask whether I might be persuaded to allow the use of some of my images for a performance of  The Soldier’s Tale at the UBC’s School of Music. The lineup of musicians would be from UBC and the Vancouver Symphony Orchestra.

I had little idea when Jacob enquired, what he had in mind. I thought maybe a few projected images, as I often get asked permissions for relatively simple presentations to accompany performances of TST. But later the conductor Robert Taylor joined in the conversations, and I began to get some idea of the ambition of Team UBC. To begin with I provided them with the edit I’d made, together with Pete Telfer and Daniel Broncano, for last year’s performance at Musica en Segura in Andalusia, which included quite a lot of animation. Jacob immediately got to work, using not only the material I’d sent, but other Soldier’s Tale imagery I’d produced over the years that he’d tracked down online, including paintings on the theme. In an extraordinary creative act, he re-tooled the material into an immersive presentation, using a wrap-around screen constructed from LED panels to fill the stage with imagery. For the first time my paintings and animations for The Soldier’s Tale would be not projected onto a screen above the musicians, but wrapped around them.

Back in 2013 I’d had very little time to draw playing-cards for the animated sequence of the game between Joseph and the Devil, and made only a handful of them. But Jacob has cleverly made a little go a long way by duplicating images so that the stage transforms into a storm of cards. One day I must try designing a full set. There is something entirely pleasing in the underlying design principle of the four suits.

 

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Field of Play

The commission to make the image of Saint George and the Dragon for English Heritage Magazine, came in over Christmas while Peter and I were staying with our friends Liz and Graham at their home near Lamonzie Montastruc, Dordogne.

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Because the deadline for completion was so tight, and moreover I needed to get a preliminary off for approval before we returned to the UK, the first sketches for the painting were made at the kitchen table while Lizzie busied herself with preparations for supper – and puss thought that sitting in the middle of my sketch pad was a good way to help me better concentrate. (Here she is getting my attention to let her in!)

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A few days later, back in my studio and with the clock ticking down, I painted into the small hours to complete the work so that I could deliver it for scanning at the National Library of Wales the following morning. Skin of the teeth timing!

 

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Framed and titled ‘Field of Play’, the painting sold at the Martin Tinney Gallery a couple of weeks before it appeared in the Spring edition of English Heritage Magazine. I’m currently working on the next image in the series.

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I think I should go to stay with Liz and Graham whenever carrying out commissioned work. La Crabouille is clearly conducive to  my creative flow!

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Announcement in the current edition of English Heritage Magazine:

‘Clive Hicks-Jenkins is our selected artist for this year’s theme of ‘Telling Tales: The Myths, Legends and Folklore of England’. Look out for more of Clive’s work, which will be appearing across our website, magazine and social media channels over the year ahead.’

Image: Saint George and the Dragon for the article ‘Saint, Soldier, Slayer’, by Michael Carter.