Lynne Lamb, Anna Marchi and Graeme Galvin
Lynne Lamb: Big Bad Wolves and Puppet Portraits
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Lynne was so quick off the mark with the Puppet Challenge, that she was deep into creativity a bare week after it had been announced. To that end I’m going to include her… alongside Philippa Robbins, another who made many puppets… in an ‘overspill gallery’ toward the end of the exhibition, the better to do justice to what was produced.
For today I’m going to look at Lynne’s work on the theme of the wolf. It was never specified whether there was any particular mythic aspect she was examining. I’m assuming Red-Riding-Hood, though she may well have been exploring more generally the wolf’s role as the villain in folklore and fairy-tale. The journey began with digital sketches.
One of things that was immediately apparent in the work posted at her blog, is that Lynne is an artist down to her fingertips. She draws beautifully, even when the idea is just to get something down quickly. None of the sketches shown here were realised as puppets looking very much like them, but I think at this stage Lynne was playing with ideas. One of her great strengths is that she’s flexible about realisation, and once the making is underway, she allows it to carry her where it will, regardless of the starting points.
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Above and below: digital concept sketches
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Below: taking us into the realms of Greek myth and Cerberus, the three-headed Guardian of the Underworld
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Below: this might be a take on werewolf iconography…
… and these two are indisputably werewolf-ian!
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Below: once the puppets were underway, they romped off as though entirely confident of what they wanted/needed to be.
Above and below: Not one wolf under construction in Lynne’s studio, but many.
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The three-headed wolf initially manifested as a demonic beast…
…and then donned a frock and acquired some strings to transform into this rather sinisterly winsome marionette, a three-headed grandma-impersonator in floral-print and flounces!
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Elsewhere, a glove-puppet came into being, with needle sharp teeth and mad, yellow eyes.
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And finally, the journey begun in a virtual paint-box, arrived in the world of corporeal pigment and brushes, and a series of puppet-portraits emerged that I absolutely love.
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Graeme Galvin: The Canterville Ghost
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I’ve known Graeme Galvin since I was teenager, when he was the designer at the Caricature Theatre in Cardiff, the puppet company I joined shortly after leaving school. Graeme designed and made so many of the puppets that I cut my teeth on, and so it’s a delight to present here the marionette he’s made for the Artlog Puppet Challenge. Graeme is, I think, the only long-time professional puppet-designer/maker who has taken part in the challenge. Time to salute a master.
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Anna Marchi: Bluebeard
I haven’t been able to discuss puppet-making with Anna, as there has been a language barrier. But on completing him, at her blog she announced… in Italian, of course…
“Bluebeard! Finally! I finished the puppet version of Barbablu, and here he is, in all his cruel elegance!”
I like the phrase ‘cruel elegance’. I’m reminded of John Malkovitch as the viperish Vicomte Sébastien de Valmont in the film version of Christopher Hampton’s play, Les Liaisons Dangereuses.
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Below: the stages of making, starting with Anna’s concept drawing
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I see no strings or control-rods on this haughty ‘Barbablu’, and I suspect his role in life is to be an ‘artist’s maquette’ in Anna’s studio. We shall have to wait to see whether he appears in any paintings.
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