Charis in the World of Wonders

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Back in 2012, at about the time I was just beginning to think about the subject of Hansel & Gretel as the source material for a small project (how little I realised what lay ahead), I began work on making the cover and chapter headings for Marly Youmans‘ epic poem about a group of resourceful children surviving in a post-apocalyptic future.

dsc04523Thaliad (published by Phoenicia, Montreal) is compelling in just about every way imaginable. When first I read the manuscript, the narrative, characters and foundation story of Marly’s creation held me fast. I read it over and over as I made the images. For my inspiration I delved into museum archives for examples of the patchworks, embroideries, silhouette portraits, paper-cuts and Fraktur drawings that seemed to me to be the most likely art survivals in Youmans’ vision of an America torn apart by an undisclosed cataclysm.

Above: illustration for Marly Youmans’ Glimmerglass. Mercer University Press, 2014

 

While Youmans is a universal writer in the sense of her understanding of craft and context, there is something so quintessentially American in her creative rhythm, her voice and her vision, that the folk arts of the United States stitched into her DNA have become entangled in mine. After Thaliad I drew on the same resources for her novel Glimmerglass (Mercer University Press), so it’s no surprise that the style of work I’ve evolved for her has become the bedrock of what I’m now more generally known for as an illustrator. After all those practitioners of the early American folk arts – the stitchers, limners and decorators with their European transplanted roots – have a visual tradition I recognise and am at home in. Thinking back, I recall the very first time I set eyes on the arts and crafts defined as Pennsylvania Dutch (and sometimes Pennsylvania German), it was as though I was in the company of old friends.

 

As I begin work on Marly’s latest novel, Charis in the World of Wonders for Ignatius Publishing, once again I’m channelling the artisan, amateur and itinerant folk-artists of Colonial America, and my chapter headings seethe with a bestiary that might have sprung from the pages of a sourcebook for sampler embroidery.

Above: tiny sketch from my Charis in the World of Wonders project-book.

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

 

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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dance of death

I posted here a few weeks ago about making a skeleton version of Joseph the Soldier for the scene in which the Devil comes to claim him.

There’s nothing in the  Soldier’s Tale libretto to tell us what Joseph’s fate is, beyond the fact that the Devil comes to claim him. In the animation I have him roasted by his captor’s fiery breath.

It’s a grisly end, and one I afterwards felt uncomfortable about because it’s not a pleasant thing to commit a character you care a great deal about to being so cruelly done away with. Nevertheless, I stuck with the idea, and when I watched the scene at the Hay Festival, I was confident that it worked.

At her Hills of Nottingham blog, Charlotte Hill has posted a story she’s written full of strange and haunting imagery, including that of a skeleton, and it’s rather lodged in my imagination. Charlotte explains that her story is a work-in progress, and so please bear that in mind should you read it. But whether in this early state or in a version yet-to-be-decided, there’s much to think about in her tale of an unfortunate girl consigned to a watery grave.