Christmas Raffle

Featured

In the lead up to Christmas, Penfold Press is running a competition. Anyone purchasing The Tiger’s Bride via the Penfold website between now and Christmas Day, will automatically be entered into a raffle to win this original study that I made preparatory to the print.

Measuring 20 x 20 cms and made in coloured pencil and ink on paper, the drawing has been mounted ready for framing. It shows an example of the ‘popular art’ so loved by the Victorians, those picturesque castles, follies, houses and cottages mass-produced by Staffordshire factories, their gleaming white brightened with vibrant brushstrokes of colour. Often made as spill-holders, pastille-burners or stands to hold pocket-watches, they embody a decorative charm that despite the fluctuations of times and tastes, has always found favour in people’s homes. Whatever the realities of life, a bit of Staffordshire can lighten the heart and add a splash of fairytale to a dark winter’s day.

The drawing was one of many made prior to my final work for the print. In the finished print I added a painted Polish folk-art bird to the left-hand tower. I love Polish folk-art and have a fairly big collection of these charming little birds, still made in rural areas of Poland.

The winner will be contacted via email. Good luck!

You can go direct to The Tiger’s Bride page of Penfold Press from HERE, and for anyone interested in Polish Folk Art and the little painted birds in the images above, Zara of the online shop Frank & Lusia always has a good selection in stock HERE. (Or has them for as long as the trade deal holds.)

The Tiger’s Bride

Featured

Launched today, my new print edition with Dan Bugg at Penfold Press, The Tiger’s Bride. It marks a return to a theme I explored in my first print with the Penfold Press, Man Slain by a Tiger. The two prints have a common interest in Staffordshire Pottery and in particular their ‘penny-dreadful’ celebration of awful events. Based on the Staffordshire group titled The Death of the Lion Queen, my print draws on the history of Ellen Bright, who in 1850 at Wombwell’s Menagerie entered a cage of mixed big cats for the entertainment of the crowd.

At just seventeen years old Ellen was a relatively inexperienced animal trainer, and on this occasion things did not go well for her. An eyewitness account by a doctor in the audience who attended her after the incident, records that she’d twice set her whip at the face of the tiger who attacked her. The wounds as described by him were catastrophic. She didn’t recover consciousness and he was unable to save her.

Ellen is buried in a grave she shares with her cousin William Wombwell, who the year before her death was killed by an elephant while working at another menagerie in Coventry. Surprisingly, the tiger continued its life as before at Wombwell’s, exhibited as ‘The animal which killed The Lion Queen’. However the law thereafter changed, forbidding women to enter cages with big cats for the purposes of entertainment.

Below: my first print with Penfold Press, Man Slain by a Tiger, 2015

There are several versions of The Lion Queen as portrayed in Staffordshire groups, with and without a title on the base, some with flowered hoops, and some without. The rearing animal is sometimes striped and sometimes spotted, presumably according the painter’s whim.

Ellen’s fate was recorded in broadsheets of the day, accompanied by chilling artist’s impressions of her death. But as a celebrated show person I think she would have preferred the Staffordshire commemorative figure group of a rose-cheeked soubrette in a pretty stage costume, flanked by big cats in thrall to her charms. My print nods to the Staffordshire group, but also to the traditions of the Victorian stage, toy theatre, folk art and my love of birds. And my love of Angela Carter, too, from whose riff on Beauty and the Beast I borrowed my title.

Below: pencil study for The Tiger’s Bride.

In Birdland

Featured

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

>>><<<

Conversations with Ed Carey: Part 1. the makers and how they make

Featured

Writer Ed Carey and I have become fast friends since being put in contact with each other by Katherine Davey, editor of the These Our Monsters anthology of short stories for English Heritage.

These Our Monsters_Covers A (2)

By way of preparing to make an illustration to accompany Ed’s contribution to These Our Monsters, I also acquired a copy of his novel of the French Revolution, Little, which I read at a headlong pitch and overnight became his biggest fan.

81UsxhO6MwL._AC_UL600_SR369,600_

In some ways the friendship is unlikely. Ed self-illustrates his published works and so his contact with other illustrators is limited. However he so liked the drawing accompanying his English Heritage story that he wrote asking whether he might have it, and so we arranged an exchange: he has my framed drawing of a goblin child above his desk, while I have his drawing of a maquette/puppet made for Little.

 

Below: my drawing for Ed’s story that loaned its title to the These Our Monsters anthology.

Illustration for 'These Our Monsters' – Version 2

Below: Ed built this life-sized maquette of a woman as preparation for his novel, Little. His original drawing of it that appears in the book, was the exchange made for my drawing of his goblin child.

 

IMG_5132 (1)

5 copy

img_8742 (1)

We met for the first time a few weeks ago at an event celebrating These Our Monsters at Hatchards, Piccadilly, and in order to extend our conversation without the distraction of a crowd, again the following morning, for coffee in Bloomsbury, just before he returned to the US and I to Wales.

Dan Bugg suggested that an eavesdropped conversation between me and Ed might offer interesting insights about our processes of producing new work. The projects we talk about are my in-progress print,  The Tiger’s Bride, and Ed’s forthcoming book, The Swallowed Man.

Ed: Hello, Clive in Wales!
 

Clive: Hello Ed in Texas!

Ed: Clive, I’ve known and loved your work for years and over the last few months it’s been an absolute privilege getting to know you and even, last week, finally meeting you. What a joy to sit with you and talk about the Lewis chessmen for example.

Clive: Ed, I thoroughly enjoyed our couple of hours in a tiny coffee shop off Gt Russell Street last week. Even though some of the current events we were discussing are horrifying and daunting, we told stories and made each other laugh a lot. One of the great pleasures of illustrating These Our Monsters for English Heritage has been the several good friends made in the process: you, Alison MacLeod and the editor Katherine Davey. I arrived fresh to your writing with the project, but as I’d simultaneously set myself to reading your mesmerising novel of the French Revolution, Little, my responses to your English Heritage short story were being deepened by the wider sense of your creativity.

Ed: You inspire my work and make me think in new ways – to communicate directly is such a wonderful thing for me. And so here we are separated by a  pandemic and yet, thankfully, still able to communicate. 

Clive: That’s a generous comment. Thank you. The admiration is mutual. The neccessity –  or so I find it to be – of a solitary life for a writer or artist, is undoubtedly isolating. (And you, Ed, are both!) We hole ourselves up like hibernating bears because we need clarity and silence to function. However I find the immediacy and creative buzz of being able to bat ideas across great distances with friends and colleagues undergoing the same processes, and in an instant, to be a great joy and solace to what can otherwise be dauntingly lonely. Whether as rich as a prolonged joint creative endeavour, or a humorous two-liner to kick-start the morning before bending to the day’s endeavours, as a man who lives at the-well-at-world’s-end, the swift correspondences of e-mail and messaging have been life-changing for me. The entire process of making fourteen Gawain prints with Dan at Penfold Press was carried out through the medium of daily messaging and the exchange of photos made on our smartphones. I could fire images to Dan of a drawn image on a sheet of lithography film and within minutes be correcting it according to his suggestions. It was almost as though we were in the same studio space. You and I have been showing our individual work projects to each other in e-mails, confident of safely sharing our efforts and misgivings with a creative ‘other’ who understands. It works wonderfully.

Ed: I’m wondering, to start with, what would you say makes a project a Clive Hicks-Jenkins project and what doesn’t? What are you looking for? 

Clive: Narrative. Whether obvious or not, whether culled from a source or invented, narrative is always what draws me in. I am an inveterate story teller, and that’s always been my foundation, certainly as an artist but even before that, as a choreographer and director. 

Ed: And, specifically, did The Tiger’s Bride come to you or you to it. How did this all start off?

Clive: It started with my life-long love of Staffordshire. The strangeness of it appeals to me. It’s a uniquely of-these-islands combination of folk-art/fairy-tale/dream-world weirdness that always satisfies/disturbs me. The sheep and dogs the size of ponies in comparison to the human figures accompanying them. The theatrical fancy-dress that makes it seem that the handsome men and pretty women are on a stage. The flowers and the often cloying sentimentality, the cottages and castles, the follies and exotic beasts, the bright colours on shining white and the sense of sort-of-familiar yet elusive storytelling being played out on a mantelpiece. Every time I see a doll-like child perched on a monster-sized spaniel or pug, I think about the dog with ‘eyes the size of mill-stones’ in The Tinderbox. Then there are the Staffordshire ‘murder cottages’ and the penny-dreadful tendency to celebrate awful events, most notoriously the escaped tiger with a limp baby dangling from its jaws striding over the prone body of the mother from whose arms the child has been torn. My first print with Penfold took inspiration from the Staffordshire version of Tipu’s Tiger, in which a beast mouths at a slain man in a uniform. The child-like brightness coupled with horror is unlikely and yet compelling. 

11872674_1623274754618428_77315902_n (1)

The Staffordshire group titled The Death of the Lion Queen had long been catching my eye, and finally I took the moment to begin researching the story on which it was based. I couldn’t shake it. It lingered, took root and I was away.

156262 (1)
I like a long-term project. Gawain had been a nearly three year project. It wasn’t what I worked solely on, except during the last six months when Dan and I had to row like galley-slaves to get it to the finishing line in time to meet the Faber & Faber deadlines and the commitment to the Martin Tinney Gallery for the ‘completion’ exhibition. One of the pleasures of a dip-in&dip-out project is that it has the convenience of being easily set aside and yet ready to return to at the drop of a hat. It’s always simmering on the back-ring of the hob, never unappetisingly stone cold. All my projects tend to be worked on for long periods, and there are always several or even many on the go at any given moment. In the aftermath of Gawain I’d been compiling ideas for a print project that would combine several of my interests: vintage and folk art toys, Staffordshire figure groups, historic circus/fairground traditions and my fascination for toy-like buildings, whether Staffordshire follies and cottages, wooden building-blocks, doll’s houses or the foil and tinsel souvenir cathedrals produced in the city of Krakow. Somehow all this began to tie together with the notion of unspecified fairy stories, and New Folktales was born. The Tiger’s Bride is my riff on Beauty and the Beast, though I didn’t want that title anywhere near it. Angela Carter provided the solution. Here’s a piece I posted at Insta about the event underlying the Staffordshire group titled The Death of the Lion Queen, which was my starting point for The Tiger’s Bride.
“This image draws on the tragedy of Ellen Bright, AKA The Lion Queen, who in 1850 at Wombwell’s Menagerie entered a cage of big cats for the entertainment of a paying audience expecting to be thrilled by the spectacle of a girl commanding ferocious beasts. At just seventeen years old, Ellen was celebrated though relatively inexperienced, and it may be that on the day her ambition outstripped her judgement, because a reliable eyewitness in the audience afterward observed that from the moment she entered the cage the tiger displayed unmistakeable aggression toward her. At a sting to its face from her whip, the animal lay down. Ellen turned her attention to the lions, but then – perhaps for good measure, or perhaps because at that moment she intuited the dangerous state of the beast – turned back and stung it for a second time with her whip in its face. The tiger rose, reared and lunged at her head, seizing her in its jaws and bringing her down. 

Ellen sustained catastrophic injuries to her lower jaw and throat, and according to a doctor who was in the audience and attended her after the attack, she died within minutes without recovering consciousness. So horrified were the public by the tragedy that thereafter the law was changed, forbidding women to enter cages with big cats for the purposes of entertainment.” 
Below: contemporary illustration reporting the death of Ellen Bright at Wombwell’s Menagerie:
deathoflionqueen1850 (1)
The Staffordshire pottery workshops quickly produced, or perhaps adapted, an existing ‘Lion Queen’ group in order to commemorate the event, adding the wording ‘Death of the Lion Queen’ to capitalise on the public interest. (Ellen was not the first Lion Queen, as there had been several who’d gone by that title before her.) I’ve referenced elements from several Staffordshire groups of a girl performing with big cats, but have gone my own way in expressing the subject.
Below: early study and final layout-drawing for the print.
83558282_10157187795353198_895237197857292288_n (1)
IMG_9861
Ellen’s story is tragic, and not just because of how she died, but because large cats in 19th century menageries must have been driven insane by their ill-treatments and confinements. This piece is not about that – though the idea is running beneath it – but is an exploration of the fairytale theme of the beast/groom.
In the same way you’ve taken the novel of Pinocchio and used a lightly-touched-upon back story in it as the foundation of your new novel The Swallowed Man.
Pinocchio Carey
Do you find that using an existing theme/story as the bedrock for a new telling is a good method of creativity for you? Which came first for you here, Jonah and the whale or Pinocchio’s dad/maker? (I feel Pinocchio might profitably be examined in comparison with other ‘man/woman-making’ stories/myths, including Frankenstein and Galatea/Pygmalion.)
 
Clive
Ty Isaf
20/03/20

Reinventing Gawain at the National Library of Wales

FullSizeRender (54)

My thanks to the many who on Saturday afternoon filled the lecture theatre at the National Library of Wales, Aberystwyth, to hear me speak. It was the first time since its publication in October that I’ve talked about my collaboration with Simon Armitage to make an illustrated edition of his translation of the medieval poem, Sir Gawain and the Green Knight, and it was a happy occasion for me to reminisce at a comfortable distance from all the hard work and exhaustion that went into the project. Good too, to place the lion’s share of credit at the feet of Dan Bugg, who facilitated the entire adventure at his Penfold Press Studio in Selby, Yorkshire, and who guided this artist so completely inexperienced in the alchemy of screen-printing, safely through the labyrinth and back out again.

IMG_2986

My thanks to Stuart Evans of Aberystwyth Printmakers, who arranged the Library event, and to all at the National Library who were warmly welcoming and made the occasion such a pleasure.

IMG_2030.jpg

IMG_2982 (1)

 

IMG_5483

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.

hicks-jenkins 012_2.jpg

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.

image1

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.

21230958_10155109698728198_1116227964628980744_n

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.

21192606_10155109699543198_8015247474490610860_n

FullSizeRender (14)

 

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.

 

SaveSave

SaveSave

Update on ‘The Exchange’

Back at the beginning of September I made a post about my work on the preparation for number ten in the Sir Gawain and the Green Knight series of prints I’m making in collaboration with Penfold Press. The post charted the progress of The Exchange from first sketches to completed stencils, the latter of which were dispatched to Daniel Bugg for him to begin the long work of transferring them to screens and beginning the proofing.

In my studio the image started as a sketch…

IMG_1032

… and ended as a set of stencils.

DSC01180 (1).jpg

Dan made two proofs to show me. While the first carefully matched my seven colours, the second was one of those happy accidents which sometimes occur and that you have to consider very carefully. For the second proof Dan had mixed varnish into one of the colours which then printed with far more transparency than he’d anticipated. While surprised by the effect, both of us loved the result. The jury is still out but I think we’re coming to the conclusion we should go with the flow and attempt to reproduce the accident in the edition. There’s something wonderfully ghostly about it. I particularly love the way it’s impacted the butchered stag on the right of the composition. I won’t show the whole print here. It still needs tweaking. Moreover we never reveal any print in its entirety until the edition is ready for publication. But here’s a detail of it.

FullSizeRender (14).jpg

Tomorrow I’ll make some adjustments to the stencils that Dan returned to me, and then they’ll head back to him for the editioning to begin.

SaveSave

SaveSave

SaveSave

Development of the Stencils for ‘The Green Chapel’

Guide Drawing

FullSizeRender (1).jpg

Stencils are made on transparent film, one per eventual colour in the print, and so some impression of the image may be had as the layers build, though of course the colour is missing. The drawing lying underneath the stencils is the template of the image throughout the process.

FullSizeRender (2).jpg

FullSizeRender (3).jpg

FullSizeRender (4).jpg

The sample colours at the side of the stencils, indicate to the printer the colours required at the printing stage. This print will consist of five colours.

FullSizeRender (5).jpg

As the density of the render increases with each stencil, I occasionally have to remove layers to better see what’s going on. The crayons, pencils, inks and paints used are not transparent, and so each new layer begins to obscure what lies underneath. The printing inks by contrast are largely transparent, allowing the many layers to show in the finished print.

FullSizeRender (7).jpg

Using an improvised etching needle to break up the heavy lithography crayon with sgraffito and create what will eventually be a more tonal layer of ink.

FullSizeRender (8).jpg

FullSizeRender (10).jpg

IMG_1703.jpg

IMG_1705.jpg

IMG_1725.jpg

In the image below the sketches in the margin were made as I worked out the composition.

FullSizeRender (6)

FullSizeRender (9)

IMG_1711.jpg

In the image below, the scratches catching the light on the surface of the plastic stencil, in the print will create an area of softer tone

IMG_1731.jpg

Below, tonal stencils will underlie the stencils on which the details of the image are rendered.

IMG_1751.jpg

IMG_1752.jpg

IMG_1754.jpg

IMG_1712.jpg

>><<

 

SaveSave

What I’m not

I’m often asked what kind of art I make. I know my face clouds over when the question comes, because the answer isn’t simple. Easier, perhaps, to say what I’m not.

I’m not a landscape or a still-life artist …

DSCF9931

… though earlier in my career I painted both.

I’m not a portrait painter and never have been, though everyone tells me they recognise Peter in my drawing and paintings.

IMG.jpg

I’m not an abstract painter, though I love abstraction.

CHJ 3 (3).jpg

My painting doesn’t aspire to realism, but rather to inner truth.

I’m not an illustrator though I make covers for novels and poetry.

Recently I’ve made my first picture book, though it’s not a children’s picture book.

dsc09556

I’m not a print-maker, though I’m currently making a fourteen print series of screenprints with Dan Bugg of Penfold Press on the theme of Sir Gawain and the Green Knight. (Based on the translation by Simon Armitage.)

Penfold C cmyk-2While I’m an atheist, my work often explores biblical and faith based themes.

DSC01676.JPG

I’m not an animator, though I made the animations for the 2013 stage production of The Mare’s Tale (composer Mark Bowden and librettist Damian Walford Davies)…

DSCF6713

… I was commissioned to make an animated film to accompany a performance of Stravinsky’s The Soldier’s Tale at the 2013 Hay Festival…

DSCF7407.jpg

…. and last year in collaboration with artist/model-maker Phil Cooper, film-maker Pete Telfer and composer Kate Romano, I created an animation as the online trailer for my picture book Hansel & Gretel. (Published by Random Spectacular.)

Unknown – Version 2

Sometimes it’s not possible to make a simple answer.

 

 

SaveSave

Man Slain by a Tiger

Man Slain by a Tiger. Screen-print. 56 x 56 cms.

Image by Clive Hicks-Jenkins, printed in an edition of 35 by Daniel Bugg at Penfold Press.

Last weekend print-maker Daniel Bugg arrived at Ty Isaf with a brown paper parcel containing proofs and prints of my first screen-print project with the Penfold Press, Man Slain by a Tiger. (You can read about the genesis of the print HERE.) Dan has made a wonderful job of the image, and it was a pleasure to sit down with him at the dining-table on Saturday morning to number and sign the edition of thirty-five prints.

In a fortnight I’ll be making the stencils for the first image in our fourteen print series based on the medieval poem, Sir Gawain and the Green Knight. I’m using the Simon Armitage translation/reworking for my inspiration, which is the version I like best. The print will be launched in time for Christmas.