The Big New Adventure

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I’ve loved Jean Cocteau’s 1946 film of La Belle et la Bête since first I saw it. Loved it, been thrilled, haunted and in thrall to it. I never tire of watching it, sometimes quipping that it’s the film to throw in my coffin to keep me company in the afterlife I don’t believe in.

Above: preparatory drawing for an illustration

For the longest time I’d been wondering how best to honour and homage the film. To begin with I toyed with the idea of making a series of paintings, but then together with Joe Pearson at Design for Today – who published Hansel & Gretel last year – hatched a plan to produce an illustrated book in collaboration with the poet Olivia McCannon, who I’d been longing to work with. Joe, Olivia and I are in agreement that neither a straight adaptation of the screenplay nor a picture book version of the film could do justice to our ambitions. We’ve opted instead for what we’re referring to as a reinvention of Cocteau’s masterpiece characterised less as a translation, than a ‘dream’ of the film.

Above: my portrait of La Bête, the first image made for the book

I’ve filled drawing books with preparatory material. Characters and places have been exhaustively explored in order to find versions that will work to best advantage in illustrations. Iconic visual aspects of Cocteau’s Beauty and her Beast In their Christian Bérard costumes have been pored over, their shapes, textures and design characteristics examined, simplified and reconfigured so as to work graphically on the page. I’ve built maquettes and three-dimensional model sets to help with my compositions.

Above: maquettes under construction

With the groundwork done, I begin the real work of construction. There’s no dummy yet, but I estimate forty illustrations. Time to get busy!

Above: Jean Cocteau’s handwriting in the film’s opening credits

The Mother’s Story

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Creating the characters for the Simon Armitage re-invention of the story of Hansel & Gretel, proved a long process of development. To begin with the visualisations were for the stage. Only later did I have to think about the translation of the stage characters to the book published by Design for Today.

In the case of the mother – who in Simon’s Hansel & Gretel: a Nightmare in Eight Scenes is a loving and protective one, far from the wicked mother/stepmother of the original story as told by the Grimm brothers – I created the basic idea of the character as she’d be presented on stage in a shadow-puppet form. My very simple design defined her overall look, though without too much detail.

Once the initial design was established and agreed between me and Peter Lloyd, he further developed it into an elaborate, articulated shadow-puppet, ready to be used in animation sequences for projection onto a screen during the live performances. It went through several stages.

As finally seen on stage, the shadow-puppet version of the mother was an extraordinary creation by Peter, stout of form and with a ruined, almost bovine peasant face deeply scored by hardship. But the careworn appearance belied her character, because when animated for the camera she transformed. Dainty on her feet and with expressive hands and a bobbing, bird-like demeanour, her anxiety for her children’s safety, became her defining characteristic.

Animating Peter’s shadow puppets was a pleasure, because they were so beautifully conceived and executed. My animation assistant was Phil Cooper, who also designed the sets for the stage production.

When the time came to re-examine the characters for the illustrated book, I had to think again about the mother.

In illustration form, without the medium of animation to more fully express her character, after trialling some images I felt weren’t working (see the two above) I decided to made her less stolidly shapeless than in her shadow-puppet form. Though my work retained clear vestiges of Peter Lloyd’s weary, middle-aged shadow-puppet mother in all of her paper-cut, filigree complexity, in one image I was able to carry her back to when she was a young and expectant first-time mother. Sometimes lines of text which in a live performance flash past, in a book may be paused at and reflected upon in an accompanying image The physical act of reading, looking and turning pages, imposes its own, slower pace.

Creativity has fluid boundaries. I would have loved to show more aspects of the mother in the book, but in the end it’s important to be rigorous when deciding on which visual ideas will best express the story, and which need to be trimmed away. So she appears just three times: at the beginning, in the company of her husband, in an image showing her pregnant with her daughter (inspired by Chagall), and at the end of the book, in an image that shows her fate.

Scores, possibly hundreds of sketches, from thumbnails to fully worked maquettes and illustrations, were made in order to arrive at the three images of the mother in the published edition of Simon Armitage’s text. But if tomorrow I had to illustrate a story in which she made a reappearance, I could portray her with no hesitation. I could draw her as a child, as a young woman, or as a woman for whom life was quite different to the version in our book. I could draw her in a heartbeat, because I know her so well.

The Design for Today edition of Hansel & Gretel: a Nightmare in Eight Scenes, is the winner of the 2020 V&A Illustrated Book Award. Copies may be purchased:

HERE

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In Birdland

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Peter Wakelin will be interviewing Clive Hicks-Jenkins on the 29th September, 19:00 – 20:15. The first in a planned series of online art interviews organised by the Contemporary Art Society for Wales, admission to In Birdland is free. There are 100 places available for the live event which may be viewed around the world, though registration is required.

Click HERE to register.

About this Event

While caged at home for lockdown, Clive Hicks-Jenkins has surrounded himself with birds. His projects have included his miniature picture-book Bird House for Design for Today, a new print of birds and beasts for the Penfold Press and illustrations for Simon Armitage’s translation of the medieval poem The Owl and the Nightingale, forthcoming from Faber & Faber. Birds have appeared often in Clive’s paintings, notably his series on St Kevin and the Blackbird and CASW’s The Virgin of the Goldfinches in Llandaff Cathedral. In this live interview he will talk about how birds weave their way through so much of his work, his inspirations and practices and his collaboration with the Poet Laureate. There will be time allowed at the end for audience questions.

Above: Illustration from Simon Armitage’s The Owl and the Nightingale

Below: St Kevin and the Sunflowers. Private Collection

Below: Startled Peacocks: Private Collection

Below: Illustration from Bird House, due out from Design for Today in November

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Interview on winning the V&A illustrated Book Award

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Jayne Paddington of Southampton Solent University interviews me:

 

JP: Tell us about the book illustrations you created.

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The book had an unusual beginning. As an artist with a background in theatre, in 2017 I’d been commissioned by a music ensemble to helm a new production of Hansel & Gretel. The producer had seen and been impressed by the Hansel & Gretel Toy Theatre I’d designed for Benjamin Pollock’s Toyshop (see above) and wanted to capitalise on the success of that. She’d begun talking with the composer she had in mind for the project, and as I was already collaborating with Simon Armitage on the revised and illustrated edition of his Sir Gawain and the Green Knight (Faber & Faber, 2018), I suggested he join us as the librettist/writer.

 

Simon titled his re-working of the fairy tale, Hansel & Gretel: a Nightmare in Eight Scenes, and it previewed at the Cheltenham Music Festival in 2018 before a national tour and a London premiere at the Barbican. A recording of the piece was broadcast by BBC Radio 3 during Christmas week, 2018.

 

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At some point during the pre-production of the show Simon suggested we might work together to produce an illustrated book of his libretto/poem. We discussed the options for publishing and  I recommended we speak with Joe Pearson at Design for Today. When Joe agreed to undertake publication, work on the book began in earnest.

 

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Set in a war zone, Simon’s version of the fairy tale took a completely different tone to the original by the Grimm Brothers by changing the impetus for Hansel and Gretel’s journey from that of abandonment by feckless parents, to an agonised decision by a loving father and mother to send their children away from the bombings.

 

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By this simple change the story became one of love and sacrifice, rather than of duplicity and abandonment. He was very clever too at conveying the degrees to which children mis-hear and misconstrue, and his text is full of moments when the siblings’ actions are based on their misunderstanding of events.

 

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With regard to how the images were made, the overall intention was to capture something of the golden age of lithography printing that both Joe Pearson and I greatly admire. One of the hallmarks of the process is that the images are reproduced on uncoated paper and have a matt finish.

 

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Above: work underway on an illustration, and below: as it appears in the book.

 

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I made the drawings in black pencil, some on paper and some on granular lithography film, with occasional use of collaged textures that I produced myself by various means. I made separate ‘stencils’ in crayons and paints on lithography film for the colours. The layers of drawings and stencils were assembled digitally by the book’s designer, Laurence Beck, which was the point at which the colour was added.

 

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Below: detail of the image as it appears in the book.

 

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Another attractive hallmark of old-school lithography can be the slight mis-registration of the various colours. This is something I’d intentionally cultivated in my artwork for the book, and Laurence was very careful to reproduce the effect in the finished images.

 

JP: How did it feel to win? What will happen now as a result of winning?

 

It’s been a strange time to receive my V&A Illustration Award in a summer when the building has been closed. The event was originally to have taken place at the museum in June, but was indefinitely postponed at the time of lockdown. There was to have been an exhibition of the artwork at the V&A, and that too was cancelled.  I heard about the announcement not from the museum, but from a press release they put out. While it’s very exciting to have been honoured in this way, it can’t be denied that reading about it in an unexpected online press release has not had the excitement factor that an event would have brought to it. I’m guessing they will either hold a smaller event later in the year, or failing that I guess the trophy will be delivered in the post.

JP: Where do you find inspiration for your illustrations?

 

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When you’re working to a text by the poet laureate, you don’t have to look any further than the words. I knew Hansel & Gretel inside out because I’d already designed and directed it for the stage, so I had a very good starting point for the project. Nonetheless, the moment the stage tour was over I began from scratch again with the text, dividing it up and making a very rough dummy copy that set out lines-per-page and earmarked where the images might go. And because the publisher and I had considered that first dummy very carefully, though the details sometimes changed over the period of illustrating, the overall shape and number of pages remained pretty much as we set out at the beginning.

 

The next stage was to make a huge project-book in which I began the process of designing every visual element I intended to show: human characters and what they wear, settings and the moods generated by them, objects, animals and events.

 

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It was exhaustive and stretched to several hundreds of images. (Enough for three books really.) Even if something appeared only once – such as the ‘imagined’ hyena that appears early on – I drew it dozens of times to work out what the image would bring to the book.

 

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For a bridge described by the author as ‘arched like a hissing cat’, I made more than fifty drawings of arch-backed cats, hump-backed-bridges, cat/bridges and bridge/cats, gradually finding the hissing cat/bridge hybrid that best conjured the mood of the scene.

 

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Simon is an incredibly enriching poet to collaborate with, and to do justice to him I find ways of accompanying his texts in ways that will take the reader by surprise. I  begin with the words of course, but often the places most profitable for illustration are the spaces between them.

 

JP: What advice would you give to our students wanting to one day follow in your footsteps?

 

Well they can’t follow in my footsteps, and shouldn’t want to. They should find their own ways, and travel by routes of their own devising. My careers have been various. I didn’t start as an artist, but as a choreographer and director, so I came late to the easel and even later to illustration. My experience is that the wider your interests, the better you’ll be at whatever you do. I don’t go around thinking about illustration all of the time. I read (voraciously) listen to music, study history, try to understand the world, try to understand people and stash away everything I learn in the place marked ‘material to be be used on some future project!’ I study art of all varieties and periods. I collect art, vintage toys (particularly wooden building blocks), textiles, puppets, masks, comics, fossils and books. I’ve collected all my life, whenever I’ve had a bit of spare cash. Some of the things I’ve collected ended up in the stage production of Hansel & Gretel, and migrated from that to the book.

 

Below: from the shelves of my tinplate toy bird cabinet…

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… to the stage production of Hansel & Gretel 

 

… to a double-page spread in the book:

 

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This little cavalryman migrated from my sitting room…

 

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… to an animated sequence in the stage production …

 

 

… to a preparatory drawing for the book …

 

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… to full render separations on paper and lithography film …

 

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… to the final colour book illustration. (Detail)

 

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All my collections fuel my work. I never have to start from scratch with any illustration project. Somewhere in my collection, there will be a starting-point ready made. I just wander around looking at what I have until I find it. It’s a more organic process than trying to conjure something out of nothing.

 

Here’s a link to a little film about the making of Hansel & Gretel.

 

http://www.designfortoday.co.uk/hansel-gretel

 

Clive Hicks-Jenkins, 2020.

 

Hansel & Gretel: a Nightmare in Eight Scenes

Author: Simon Armitage

Illustrator: Clive Hicks-Jenkins

Designer: Laurence Beck

Publisher: Design for Today

“And the award goes to”

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The results of the V&A Illustration Awards have been announced, and I’m happy to share here that I’ve won the 2020 V&A Book Illustration Award for Hansel & Gretel: A Nightmare in Eight Scenes by the poet laureate, Simon Armitage, published by Design for Today (Joe Pearson) with book design by Laurence Beck.
It’s a wonderful outcome for a project that started back in 2017 when Simon wrote a reinvention of the fairy tale as the text/libretto for a music theatre production commissioned by the Goldfield Ensemble that I directed.
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Set in a war zone, the story took a completely different tone to the original by the Grimm Brothers when Simon changed the impetus for Hansel and Gretel’s journey from that of abandonment by feckless parents, to an agonised decision by a loving father and mother to send their children away from the bombings. Even before the premiere at the 2018 Cheltenham Music Festival I’d begun work preparing images for the illustrated edition of the poem, which was published in 2019. The beautiful book that resulted from the collaboration with Simon, Joe and Laurence was ample reward for the hard work, but the V&A award is the cherry on the cake.
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Copies of the book may be purchased from Design for Today,

The Owl and the Nightingale: the rough and the smooth

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Above: worked-up study from a project book, and below, the preparatory drawing for it:

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I’m in the thick of my third project of lockdown, which is to illustrate Simon Armitage’s translation of the medieval poem The Owl and the Nightingale, due out next year from Faber & Faber.

My project book for this is full of preparatory work exploring the themes of the poem, and I’m already well into final renders. I absolutely love the early stages when drawings are flowing freely without consideration or hinderance. No page measurements to worry about and a disregard for anything other than letting the creativity have its head. Everything conducted at a gallop.

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But all artists face the dilemmas that come when the rough needs to give way to the smooth, and this project is no different from any other I’ve worked on in that respect. In the project book a single idea is drawn ten times… or twenty or more… and no finished artwork can ever contain all those ideas and all that unfettered energy. Whatever emerges when a hundred ideas have been distilled into one image, is going to be a different thing to where the whole thing kicked off.

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The poem is set in an anthropomorphic universe in which the poet presents the exchanges between rival birds as a dizzying display of one-upmanship and smug self-regard. Accusations fly like missiles in the squabbles. Feathers ruffle and subside and are preened back into good order in preparation for the next salvo. There are moments when the rancour feels extraordinarily contemporary with anything found in the Big Brother household or at Facebook.

The drawings to accompany the poem could have gone in any number of directions from rambunctiously satiric to Berwick-like lyricism. At the outset Simon suggested I look for inspiration to illuminated manuscripts contemporary with the original writing, and to borrow and rework what I’d find most useful in them. I’d frame the translation with a contemporary response to historic images, just as Simon had reworked the poem in a way to speak to a modern reader. So words and images together dance in a territory somewhere between past and present, nodding to established traditions while building new ones.

It’s not commonplace in today’s publishing world to be given opportunities to illustrate poetic texts as densely as I’ve been fortunate enough to do, first with Simon’s Sir Gawain and the Green Knight, then with Hansel & Gretel at Design for Today and now with The Owl and the Nightingale. I’m enormously obliged to the poet and his publishing team at Faber & Faber, and to Joe Pearson at @designfortoday, all of whom have been enormously supportive and patient in our undertakings together. Thanks too to Dan Bugg at @penfoldpress and @sirgawainscreenprints, and to Laurence Beck at @laurencebeckdesign.

I also owe a debt of gratitude to Mark Brown, who generously came to my help when digital adjustments needed to be made to some of the Gawain images prior to publication.

Reinventing Beauty

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Yesterday I talked to the students at Hereford College of Arts about my work making a book in ‘homage’ to Jean Cocteau’s film, La Belle et la Bête, a dream project I’m collaborating on with my friend Joe Pearson at Design for Today.

 

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I can quite see that it’s a strange notion to attempt a picture book about another artist’s creation originally made in the form of a film. There are many visual reinventions that are required in order to successfully carry off the trick, especially as my intention has never been to make a scene-by-scene ‘copy’ of the film. I think of what I’m producing as a translation. I’m working to translate, rather than reproduce the actors’ iconic screen appearances into what will work in illustration terms, and the same process is being undertaken with the film’s studio sets and the locations. The canvas, plaster and gauze spaces of the Beast’s chambers, passageways and balconies that the actors performed on, are opening up in my imagination as I transport myself into their world, just as Cocteau described the experience of walking through the constructed rooms in his published Diary of a Film.

Cocteau on the set for Beauty’s bedroom, Saturday the 15th December 1945:

“I’ve never seen a set either in the theatre or in films to appeal as much to me as this one of Beauty’s room where I am working now. The studio hands like it too. Even the waitresses from the restaurant come and see it and are thrilled to pieces.

I’d like to hear this room described by Edgar Allen Poe; for it is, as it were, isolated in space with the remnants of the forest set on one side, and the beginnings of the stream set on the other. With the result that bushes can be seen through its walls of net, suggesting a whole incomprehensible landscape behind it. Its carpet is of grass and its furniture in the magnificent bad taste of Gustave Doré.”

 

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I’m working in colour, which Cocteau wanted to do but was unable to afford in those harsh, post-war days when the French film industry was on its knees in the wake of the Occupation. He describes in his diary the sky blue of Belle’s sumptuous satin gown, worn by Josette Day in the farm garden when Belle returns home, and how beautiful the colour was against the white bed-sheets hanging out to dry, with the black hens scattering in front of her.

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Above: the cast on location at Moulin de Touvois á Rochecorbon in Touraine, the small ‘manor’ that Cocteau chose  for the exteriors of Beauty’s home. From left to right, Josette Day, Marcel André, Nane Germon, Michel Auclair, Jean Marais and Mila Parely.

The fact is that there have been echoes of La Belle et la Bête in much of my work of the last decade. Leonine creatures have appeared in many of my works, and always in them the combination of rage, anguish and yearning that hallmark Jean Marais’ performance as la Bête.

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In the first of a new series of prints titled New Folktales that I’m making with Dan Bugg at Penfold Press, the recurring themes of beauty and beastliness are apparent in both the title and the image of The Tiger’s Bride.

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Above: preparatory drawing for The Tiger’s Bride.

And even in my recent cover for These Our Monsters I can see that I’m toying with ideas for the Beast’s garden, setting serpentine stems and muted, nighttime colours against a velvety black.

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Josette Day and Jean Marais haunt me at the drawing-board and in my dreams. I make and unmake them over and over as I strive to capture an essence of their stateliness and beauty.

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Above: maquettes made preparatory to illustrating the book.

I see the book as being like a bottle of perfume that you unstopper in order to inhale something rich and dark. It’s a fight, but every time I make a small progress, it feels like triumph.

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2020 V&A Illustration Awards shortlist nominee for ‘Hansel & Gretel: a Nightmare in Eight Scenes’

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I’m honoured and thrilled to share here that I’ve been shortlisted for the V&A 2020 Illustration Award in the category of ‘Illustrated Book’ for Simon Armitage’s contemporary re-working of the Brothers Grimm, ‘Hansel & Gretel: a Nightmare in Eight Scenes’.

My thanks to publisher Joe Pearson and designer Laurence Beck at Design for Today for their unflagging belief in this project and the tireless work they put in to make it everything we’d hoped it might be.

The announcements of the award winners will be made in June.

 

‘Putz’, Pastille Burners and Palaces: the making of ‘Bird House’

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When Joe Pearson enquired whether I’d like to produce a title to fit in with his ongoing project of making both selected re-prints and new titles in the old Bantam series of tiny picture-books, I didn’t hesitate for even a moment before saying yes. I’d taken a lot of pleasure in Joe’s reprints of Hilary Stebbing’s two titles for Bantam, The Silly Rabbits and The Animals Went in Two by Two, poring over them repeatedly. I’m a big Stebbing fan but original copies of her books are hard to find these days, so the re-prints were an easily affordable treat.

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There are just fourteen pages per Bantam book plus front and back cover, a constraint that can either focus or defeat the illustrator/author. Stebbing rose magnificently to the challenge with vibrant images that all but leap off the page. The Silly Rabbits reprint has been at my elbow as inspiration throughout the process of working on my own book. If I could capture even a fraction of the vivacity of her approach, then I’d be content.

Joe came straight to the point with his suggestion of a subject: birds. There had been birds of many varieties in our first book together, Simon Armitage’s Hansel & Gretel: a nightmare in eight scenes, and Joe suggested that if time was too short for me to make new work, we might profitably look at some of the unused drawings made for that project.

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But once the idea was in my head, I was off like a rocket to make new work. I thought briefly about whether I’d write or commission a new story, but greedy for all the space I could grab for the illustrations, decided in the end to make a picture-book, pure and simple. I considered producing a sort of nursery primer Guide to British Birds, and began sketching. But the more I sketched, the more I realised that I wanted to make not a book of birds as observed in nature, but something imaginary.

My first thoughts focussed on combining birds with some of the foil crèches I’d collected which are a folk art tradition of the city of Krakow in Poland. Only a few weeks previously I’d been making assemblages for my Instagram page that combined foil crèches and vintage tinplate birds. So out came the clockwork cockerels again and the tiny wooden buildings from the Erzgebirge toy-making region of the Black Forest, and rather strangely it began to feel as though the idea might have been cooking in my head from a time before Joe came to me with the project.

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I began arranging the foil crèches on my work table, combining them with small painted wooden birds, another Polish craft tradition of which I have many examples.

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Below: Polish ‘folk art’ foil nativity from Krakow, to which I’ve added tiny painted wooden birds for the photograph. All things Polish and folk-artish in my collection come from the wonderful online emporium, Frank & Lusia.

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For about a day the title of the new book was to be Palace of Birds. But it changed as soon as I came up with the more direct, Bird House.

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Suddenly the dining-room table, where I’d temporarily set up my work space, was piling high with Polish birds, Russian tinplate chickens and foil crèches. Here a hen stands atop a ‘Head’ by artist Peter Slight.

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There were other possibilities stirring. I’d fairly recently acquired a box full of vintage Chinese chenille birds, and they too came out.

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Below: worktable with the many Polish painted birds that contributed their services to the project. Note the copy of Hilary Stebbing’s The Silly Rabbits.

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Ideas for bird houses developed fast. I researched at the computer, sketchbook in lap, filling it with drawings of Staffordshire pastille-burners in the forms of fanciful castles and follies.

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Below: project-book sketch of a Staffordshire folly and a Polish bird.

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Then there were vintage versions of the glitter-encrusted Christmas decorations known as ‘Putz’, which before World War II had been popular Japanese novelty exports to the US.

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I made many fully worked-up trial images in preparation for beginning my work in earnest. In this one from my project-book you can see how I adapted the Putz House shown above.

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And here – in a detail from the finished illustration – a change of bird strengthens the image.

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Recalling the china pagodas that decorated the goldfish bowls of my childhood, I began trawling for examples that might go nicely with my chenille birds. So many ideas, so little space!

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Below: project-book drawings of Russian clockwork chickens.

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Bird House will be published later this year. Produced in a very small edition, I suggest that if this book appeals and you fancy a copy, then you contact Joe at the Design for Today Instagram page. There you’ll find a post about it where you can leave a comment to notify him of your interest. On this one I fear it will be ‘reserve early to avoid disappointment’.

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Russian Bird: the constant muse

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The Russian Bird is a marvel of clockwork ingenuity. Though a little faded from too much sunlight in her youth (we’re more careful with her now) her mechanisms are still strong.

 

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When fully wound she turns her head from side to side, her beak opens and closes, her wings flap, her tail bobs and she sings with considerable brio. Her voice, powered by bellows in her chest, while not the sweetest nonetheless has an impressive vibrato. I always think her more a music-hall artiste than a concert-platform diva. More Vesta Tilley than Dame Kiri te Kanawa!

There’s certainly no point in anyone talking while she’s performing because she drowns out all competition, which is pretty impressive for a lady of her small size and considerable years.

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She moved audiences when projected onto a screen during performances of Hansel & Gretel: a Nightmare in Eight Scenes, beautifully accompanying the music that conjured a forest full of birds. Here’s the sequence, though alas without the live music accompaniment. (She was not best pleased that the composer eschewed her voice, but stepped up to the challenge of conveying her role through the medium of mime like a born silent movie star!)

When the poem by Simon Armitage that had been the libretto of the production was published in an illustrated edition by Design for Today, the Russian Bird was awarded a double page spread, and in it she’s quite the Queen of the Forest surrounded by her retinue of smaller birds, all pecking away at Hansel’s path of scattered crumbs.

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Deeply conscientious about her duties as artist’s muse, she’s a tireless model and will go to any lengths to facilitate whatever’s required of her in the studio. For her forthcoming appearance on the cover of the picture book Bird House for Design for Today, she carried a Byzantine palace knapsack-style on her back, standing unflinchingly for an entire afternoon while I drew her.

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She’s made guest appearances in several galleries and museums. Here at MoMA Machynlleth she takes centre stage on the Benjamin Pollock’s Toyshop Hansel & Gretel Toy Theatre that toured the country in the stage production of Hansel & Gretel: a Nightmare in Eight Scenes in 2018.

 

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You can see in these snapshots that she loves demonstrating to an adoring public that she’s the inspiration behind what is clearly – in her opinion – the most important illustration in the book of Hansel & Gretel: a Nightmare in Eight Scenes.

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She’s never slow to be my messenger, and friends are always won over by her bright eyes and sprightly demeanour.

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Below: in a tiny theatre of her own, produced in a small edition for members of the Benjamin Pollock’s Toyshop Harlequinade Club.

 

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When not making public appearances, Russian Bird is tirelessly creative in the studio, always game to collaborate with other toys on making scenarios she thinks may offer me new pathways to paintings and illustrations. Here she is in a stunning tableau vivant interpretation of Death and the Maiden.

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Here we catch her giving one of her renowned masterclasses to an eager young student.

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None of us at Ty Isaf knows where we’d be without her.

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