Bradford Ontario, where I live with Marian, has just had its first proper snow storm. Time for boots, scarves, wood fires, and hot cider; how the weeks have flown by over the course of this 2010 year!
It occurred to me that it would have been 40 years ago this year that I first read The Lord of the Rings at the age of 15. What a long, wonderful journey it has led me on! How many dear friends it has made me!
This year my focus in Tolkien has been on The Hobbit, galvanized admittedly by the prospect of the book being adapted to cinema within the next couple of years. (For those wondering—no, I have not been asked to work for the film, at least yet.) It’s been a singular pleasure to revisit scenes and create new sketches in a growing series of artworks meant to bring my own sensibilities, ideas, and painting style to the famous story. At last summer’s exhibition event ‘Edge of the Wild’, those who attended saw the results; Bilbo and the Eagles, A Conversation With Smaug, The Riddle Game, and Entering Mirkwood. I believe these and works yet to come will stand as some of my best, and in the months ahead I’m planning to add a Beorn scene and a depiction of the Trolls scene, two of many other possible subjects.
However, an artist and illustrator like me usually has other projects, both commissioned and non, and in September I participated in the Bradford Artist Studio Tour, displaying a range of artworks in a small scale exhibit. Notable were a number of traditional rural scenes in gouache, pencil, and pastel crayon, the latter being a medium I haven’t used for many years. Different mediums can be found in art stores or even discount office supplies can be used to spark creativity. Several pencil drawings were done on site, often with Marian nearby doing her own drawings. These are mainly inspired by a common feature of the local landscape, dilapidated sheds, barns, and shacks on abandoned farms. It seems to indicate broken dreams during tough times, but for me they are beautiful ruins, and my inspiration comes from the same melancholy that Tolkien felt (and really all poetic souls) at the inevitability of change and decline in the countryside. It’s my plan to add to this alternative genre of my art in the years to come.
As to Tolkien, most recently I produced a small commission titled Thorns and Briars in Mordor, which depicts the scene from below the bridge that Sam and Frodo jumped off of. Though at first the subject, with no figures, seemed very limited, it proved to be a delight, and I am very pleased with the result. Two other unrelated Tolkien commissions are in the pipeline in coming weeks, and I’ll keep you posted.
Musically, in October I gave a 1 hour concert with my brother Bruce of mainly songs from my CD The Hidden Door. We received great praise, some calling it a magical event. It was part of a series of concerts sponsored by the town of Uxbridge (a half hour east) held in the historic Foster Memorial Temple, a local architectural jewel built in the Great Depression to honour a former Toronto mayor’s love of his wife and his daughter. He was inspired, the lore goes, by the famous Taj Mahal in India. The polished stone interior is very acoustically resonant, making it a wonderful venue for softer music. We were immediately invited back next year, and have accepted. Following the performance a group of us gathered at a favourite local pub called The Hobby Horse—or as I dubbed it, ‘The Hobbit House’. We intend to post some of the songs on YouTube soon.
Lastly, this week I took a giant leap into the 21st century and installed Skype! Friends have been suggesting I do this for a while, but the catalyst was an invitation from musician John DiBartolo of New York, and Dr. Cory Olsen of Washington College in Maryland USA. We arranged for a 3-way virtual ‘moot’ in order to compare notes as artist, musician, and scholar. John, of The Lonely Mountain Band, has used a painting of mine on his new CD Beyond the Western Seas. We exchanged emails a few times, and out of it the idea to collaborate with Dr. Olsen came to fruition. The resulting podcast will offer the best of our discussion and our answers to submitted questions, along with music from both John and myself. We hope this initiative will grow and bring in other scholars and artists.
As always, I have much on the go, including my painting a portrait of my daughter Sharyn and her new husband Paul as a wedding gift. Now completed, it’s to be presented to them very shortly.
And finally, we’re of course approaching the holiday season, a time of year I lend my voice to Bruce’s church choir for Advent and Christmas services, plus a choir concert. On behalf of Marian and me, we’d like to wish you all a festive, safe, and peaceful holiday. Merry Yule!
Posted December 09, 2010 | Comments (0) | Permanent link
Posted May 04, 2010 | Comments (0) | Permanent link
I'm proud to announce that later this year publisher Spectra, a division of Random House, will release the 2011 George R.R. Martin Ice and Fire Calendar. It will feature 13 of 14 castle illustrations I painted for The Complete Guide to the Ice and Fire Universe (still in production). This is a welcome and unexpected honour. It had been suggested to me some months ago that the castle paintings, which were created in close collaboration with the author, would make a fine calendar, and it seems the dedicated editors of George R.R. Martin came to the same conclusion when considering material for the 2011 edition.
Most of the illustrations can be viewed here if you go to Other Works and click on the first thumbnail, which says George R.R. Martin. The original paintings are also available to purchase by contacting Malcx Lindley at www.adcbooks.co.uk.
As some will know, I have a growing association with the Ice and Fire novels, and have been a fan of the series since first being introduced to them several years ago. I'm hopeful that the relationship will continue; it represents an exciting new direction for me, as Mr. Martin's phenomenal fantasy epic continues to grow in popularity.
Posted April 09, 2010 | Comments (0) | Permanent link
Hello my friends.
Once again I return from my creative wanderings in 'Faraway Lands' with, I hope, exciting achievements. Picking up where I left off in my last detailed entry from mid-2009, I'd like to describe the next works I created leading up to my Brazil trip in October.
Legolas and Gimli Reach the Shores of Valinor
Continuing with the history of the Dwarves, and following completion of Durin I Discovers the Three Peaks, I went on to paint Legolas and Gimli Reach the Shores of Valinor, a simple piece based on the appendices in LotR, and the account of the companions' final journey.
Aule and the Seven Fathers
It was followed by a work titled Aule and the Seven Fathers, a depiction of Aule as he attempts to create the Dwarves, a scene related to my work titled Aule Prepares to Destroy His Children. This type of subject always presents difficulties, describing as it does a purely mythical event. Yet it can be very evocative and satisfying nonetheless, realism being merely the medium utilized to present a poetic, metaphysical image. All of it in order to better appreciate the wonder, pathos and beauty of Tolkien's invented myths.
The Nauglamir
Following Aule, the 4th of the Dwarf-themed works of last summer was something unusual, a depiction not of a character or scene but of an artifact; The Nauglamir. This most beautiful and rare necklace was said to be made by the Dwarves of the First Age for Finrod, and then its history has it coming into the possession of Thingol of Doriath, who commissions the Dwarves to incorporate a Silmaril into it. What soon follows is tragedy and destruction for Thingol and his kingdom, such that the necklace changes hands again a number of times until it is brought to Earendil by Elwing, the daughter of Dior, only child of Beren and Luthien. There, it is placed upon Earendil's brow, setting the stage for Earendil's transformation into a Star in the Heavens. (This last event was in fact the fragment of Story that Tolkien was inspired to build upon originally, resulting in the life's work he invested in the entire Silmarillion history!)
To accept the task of depiction of The Nauglamir, I had to accept that whatever I drew, it could not possibly fulfill the imagination of readers, given the poetic superlatives applied to the object. But as a project, it nonetheless was a fascinating puzzle. The qualities assigned to it--light on the wearer, yet heavily jeweled, and incorporating THE jewel, a Silmaril of Feanor, raised troubling questions. Tolkien uses the word 'carcanet' to describe it, and from what I could find, the definition of carcanet is understood traditionally as a 'choker' necklace. This type of necklace is worn wrapped around the neck, not resting on the shoulders like a 'bib'. Tolkien's description nonetheless suggests that it "rested lightly on the shoulders", leaving room for interpretation of his exact meaning.
The necklace was originally made for the Elf king, Finrod, and this suggests a more masculine design. Being made by the very male-centred Dwarf culture also lent weight to this rationale, such that I opted eventually for a quite geometric design, emphasizing angles and facets over curves and 'softer' elements. I also tried to incorporate the Silmaril in a way that suggested the technical demands of adapting the necklace to include the Jewel--a round, feminine object. In time, and with many revisions, I developed what seemed at least an intelligent design which incorporated all the criteria.
With the final wearing of the necklace being said to have been upon Earendil's brow, the question arose: Could he have been wearing the necklace itself, or only the detached Silmaril? Tolkien doesn't say, but given the emphasis on the time the Dwarves devoted to adapting the necklace to hold the Silmaril, it seemed incongruous that Tolkien, had he been able to fully reconcile all conflicting information in the unpublished MS, might have had Earendil dismantling the priceless, supremely beautiful and unique necklace in order to wear the Silmaril upon his brow. Therefore, its design was partly dictated by that thought, and if thus worn, it became a tiara, the Holy Jewel resting just between the eyes. The overall effect might be like a golden crown.
The Window on the West
Following my trip to Brazil, I began work on a full size version of a private commission, The Window of the West. I had generally shied away from painting the scene, despite its evocative description, but as I studied the passage in question, and in consultation with the gentleman it was intended for, I came to appreciate the interesting play of light which could be captured. The character of Faramir is always an interesting challenge; this gentler, higher minded brother to Boromir. I was careful to depict him with what I imagined would be his accouterments and costume during this episode, and to make sure his height was appropriately Numenorean, given his ancestry. Frodo is seen looking worried but respectfully at the great Gondorian, while Sam, ever cautious and skeptical, looks unimpressed.
A Conversation With Smaug
This new painting, A Conversation With Smaug, which I worked on over several weeks into February, is unapologetically inspired by Tolkien's iconic illustration for The Hobbit. Despite my thoughts of drawing the scene ever since I began depicting Middle-earth, I was never happy enough with the sketches (at least one in colour) or sufficiently moved to take on the subject before now, and was content to turn to the many other scenes and subjects instead. However, a thumbnail sketch I made while experimenting (as mentioned in a previous post) with new artwork from The Hobbit, expressed "Smaug-ness" as effectively as I've ever contrived, plus with the colour sketch that followed, such that I was happy to find I had the time to take it on to a finished work.
The challenge was to express the character of old Smaug; wily, shrewd and dangerous, yet vain and overconfident, as well as to 're-imagine' the elements in Tolkien's familiar original; the treasure piles, the deep catacombs, evidence of a final battle, plus the great vats of yet more gold and treasure. And of course there is Bilbo, who must 'register' despite his invisibility, and be juxtaposed against the great dragon in his lair. Many artists have depicted this scene, of course, so it was a scene I wanted to interpret only when I felt I could offer something interesting enough to justify adding mine to theirs.
The Riddle Game
As with the colour thumbnail posted several months ago, I found I had some time available, and turned my attention to this equally iconic scene, The Riddle Game. I once did paint an early version of it (also titled The Riddle Game), in acrylics in the mid-1970s. I now wanted to apply the intervening 35 years of experience to the subject. And the first difficulty for the artist is the darkness of the scene. As with Aule (see above) and other subjects requiring artistic license, it's necessary to ignore the obvious in order to portray the characters, and I did my best to suggest darkness while still lighting the setting.
Gollum, looking suitably wizened and slimey, emerges out of the gloom with glowing 'cat's eyes', while a clearly out of place Bilbo nervously confronts this ugly thing with his blue-lit sword Sting. Tolkien gives us a description of Gollum's cannibalistic feeding habits, so I felt justified in emphasizing the imagined results of his isolation--not unlike Shelob's lair--with bones, rottenness, and decay evident. This I feel is in keeping with The Ring's longstanding presence, it's undead evil. The coracle Gollum sits inside sends out ripples around it, not unlike the radiating malevolence within The Ring itself.
Currently on the board is a work provisionally titled Entering Mirkwood, which continues the project of new Hobbit-based scenes. I will shortly post information on the coming exhibition, Edge of the Wild, in England set for this August, where these and other new artworks will be available to see.
Posted March 30, 2010 | Comments (0) | Permanent link
I was invited to fabled Rio de Janeiro Oct. 8th to 12th for a gathering called HobbitCon. As with my very wonderful trip to Sao Paulo and Brasilia in June 2004, I was again surrounded by some of the most exuberant and passionate Tolkien fans imaginable, and I cannot praise them enough for the very special welcome I received during my few days in this most exotic of world cities!
It was always a hope, after the 2004 experience, that it might be possible for me to return, and this year it was accomplished, with dedicated fundraising efforts on the part of the local Rio smial of Conselho Branco (White Council), the Brasilian Tolkien Society. On the day of the conference, held at the Hotel SESC Copacabana, I was pleased to present a lengthy retrospective of my Tolkien art on slides, featuring successive versions of many subjects (eg. Rivendell or Minas Tirith), ably translated by my friend Rosana Rios. I also included examples of automotive and (recent) pastoral art, plus some of the castle paintings from the fantastic world of George R.R. Martin. Immediately following my talk I sat down with a beautifully hand-crafted, locally made guitar which I was loaned, to sing a few of my songs. It was an honor to play this beautiful acoustic guitar. I was deeply grateful for the very enthusiastic response on both counts, and most grateful to the organizing committee members whose hard work and dedication allowed me to be among you and renew our acquaintance so happily. All who I met and enjoyed conversations with during my stay are fondly remembered. I think Brasilian 'hobbits' (or elves) would be hard to match anywhere for conviviality or hospitality.
Very special thanks to Betina Dengler, who kindly gave of her time in order to be my guide and host through the days before and after HobbitCon. Despite a fair bit of spring rain initially, she made sure I saw the best of Rio's many and varied sights and attractions; everything from stunning Baroque churches, the Sugarloaf, the Carnaval workshop complex, Botanical Gardens, pan-Brasilian Festival, or mountain-top National Park--and of course those superb beaches. The tourist posters do not do the city justice; it is unquestionably one of the most beautiful and exciting places on the planet.
I came home very much inspired, and encourage others to put a priority on visiting our fellow keepers-of-the-flame in this tropical Wonderland! Obrigado!
Posted October 23, 2009 | Comments (0) | Permanent link
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