Aussies 'n' Fairy Tales Week: Spike Deane, Mythic Glass Artist

New Stories From The Old Wood

UPDATED 1:18am on Friday, June 13th, 2014: Spike Deane's Into the Woods stop motion animation video added!

First up on the Awesome Aussies working in fairy tales list is the truly amazing Spike Deane. (All images shown throughout this post are of Spike's beautiful work.)

She also has a lovely way of introducing people to her art. Here's the introduction sheet from the AFTS (Australian Fairy Tale Society) Conference:

The AFTS (Australian Fairy Tale Society) presented an exhibition of her work in slide form during the Inaugural Conference on June 9th this week, and though Spike was overseas at the time and couldn't be there, she presented the AFTS with a very special and lovely key ahead of time, which was on display on the donor acknowledgement table:

AFTS key presentation

I have been meaning to highlight her work for some time and it is a disservice to you all that I haven't (my sincere apologies for that), because Spike's work is beautiful, mythic and uses a very special medium: glass. She also uses other mixed media, sometimes as part of her glass work as well, including (be still, my heart), stop motion animation! I am in serious AWE.

Check this out:

From the description:

Spike's main exhibits to date reflecting her fairy tale inspiration are:

• The Forbidden Chamber (based on Bluebeard and Fitcher's Bird)
• The Wolf I Knew Would Lead Me... (inspired by the transformational woods of folk and fairy tales)
• The Woodcutters Daughter (representing the many stories that begin with "Once upon a time there was a poor woodcutter..." - see her website for pics)
• New Stories From the Old Wood (representing transformation and metamorphosis in stories, using the age old fairy tale favorite symbol of the tree and the many-antlered deer)
• Fairytale Landscapes (small scenes in glass with a silhouetted fairy tale figures

And she's currently working on a wonderful and completely delightful Selkie project. I heartily suggest checking out her blog where she's been kind enough to share the process of design and casting - it's like magic, where you can see all the hard work and are still wowed.

Casting and experiments in selkie heads

Spike was kind enough to give me some insight into her inspiration and how researching fairy tales and folklore are part of her process. She sent me a wonderful letter that I will share most of, since I can see it reflected in her work so well:

My work draws on narratives found in folk and fairy tales to explore themes of individual transformation and metamorphosis. These tales evoke archetypes, myths, legends and fundamental truths from our lived experiences as social beings in an ever changing world. Each generation re-imagines the core stories of folk traditions and it is this process of reinvention and renewal that underpins my work.

Breath of the Wolf In My Ear

 

The retelling of folk, fairytale and myth in literary fiction is the mainstay of my inspiration and research. My house is stuffed with books, many of which are fantasy novels, and these new stories I believe stem from the archetypes and themes found in folk and fairytale. I love reading and the process of sifting and dreaming through someone else's (or lots of someones) words and ideas is an integral part of my artistic practice. Lucky me. 

(Ms. Deane's Artist Statement is continued below The Forbidden Chamber presentation...)

The Forbidden Chamber

*******************************************************

"The Forbidden Chamber" by Spike Deane

Human beings are story tellers.

My work draws on narratives found in folk and fairy tales to explore themes of individual transformation and metamorphosis. These tales evoke archetypes, myths, legends and fundamental truths from our lived experiences as social beings in an ever changing world. Each generation re-imagines the core stories of folk traditions and it is this process of reinvention and renewal that underpins my work. With this piece I examine tales like those of Bluebeard and Fitcher's bird where a terrible secret lies behind a forbidden door.

In folklore and fairy tales the key can denote liberation, knowledge, the unravelling of mysteries or a difficult task to accomplish. In these stories I see the key assisting us on a path of revelation, unlocking secrets that reveal truths that enable personal growth and transformation. 

*******************************************************

(Spike Deane Artist Statement cont...) 

Currently I am making towards a body of work based on the legends and stories of the Selkie. The melancholy stories express so many of the tensions that exist in close relationships while using the seal skin as the focal element of transformation. My Selkie works will fit into the broader theme of 'Depths & Shallows' with 2 other glass artists and the show opens at M16 Artspace in Canberra on the 31st of July. 

I would have to say for fairytale analysis I am most definitely in camp Zipes. I have many of his books, bristling with markers. His idea of the 'hopeful journey' really strikes a chord with my sensibilities.

Fairytale Landscapes

Into the Woods

Look at the shadows! 

Most recently I have completed 2 pieces based around the mythical archetypes of the stag in the woods. 'Midnight grove' a lighted work is on show at Kirra Galleries in Melbourne until the 30 June.

Talia Lamp

I owe a great debt to Heidi Anne Heiner of Surlalune whose fantastic website has been a great help to me over the years and also to Ink Gypsy who keeps me up to date with the current fairytale world. Thank you.

Fairytale Landscapes - Aschenputtel

You're so welcome Spike! I'm thrilled to be of help; it truly is an honor. And it's now my aim to see some of your pieces in person. And we cannot wait to see the Selkie! Thank you for sharing your vision and talent with us all.

Fairytale Landscapes - Red

Fairytale Landscapes - Talia

Isn't she just amazing? As wonderful as these little images are on the web, I can only imagine how much more impact they have in person.

The Wolf I Knew Would Lead Me...

For my regular readers, I'm adding the Depths & Shallows show to the new Fairy Tale News Calendar, which is at the top of the page in the tab menu, in case there's a chance any of you are able to go.

There are many more pictures of Spike's work on her website, as well as a wealth of beautiful "in progress" photos on her blog (it's fascinating to see the creation of these pieces!).

Spike Deane's website is HERE, her blog is HERE, and her Twitter is HERE.

Graeme Foote Ceramic Book Sculptures (& Aussies 'n' Fairy Tales Week Begins Tomorrow!)

Alice in Wonderland by Graeme Foote

My ducks have been misbehaving and have refused to get in a row this week so "Aussies 'n' Fairy Tales" week is getting a delayed start until tomorrow. What I will be highlighting is the work of Australians who are regularly inspired by and work with fairy tales. You will likely already know some of them, since their work is known worldwide, but I had to pick and choose... There are a lot!

May Gibbs  was an artist and writer who had a profound way of translating the European idea of fairy tales and faery-like people using the Australian bush. These characters literally grew out of the landscape and once you grow up with them, it's difficult not to imagine them peeking from every bit of scrub and forest you see

In the meantime, take a look at what renowned Australian ceramic sculptor, Graeme Foote, does. He creates large works that are larger than life - something difficult to do in this medium.

That's the Magic Pudding perched on top. I wish I could find a pic of the front of him.
He's such a wonderfully grumpy and adorable character!

Although Mr. Foote doesn't specifically work with fairy tales, when you talk literature and influencing works in Australia, fairy tales have a habit of cropping up, like they have here.

This series is called Book Memories and, unsurprisingly, there are a few fairy tales and children's books referenced in his work.

'Book Memories' exhibition of sculptures creates a dialogue of the artist's literary journey exposing both his admiration of these authors, their character and subject matter. Foote empathises with the authors and brings their characters to life.

From the Melbourne Review on this exhibit:

The exhibition is made up of 15 sculptures starting with Alice’s Adventures in Wonderland which shows a sculpture of Alice peering into the book and seeing the characters emerging out from the pages.
“I wanted to create a series of sculptures that reflected and paid homage to all the inspirational books I have read throughout my life,” said Foote, “that captivated me and continue to inspire my sculpture practice .”
Foote’s renowned ability to successfully create large ceramic sculptures is on display in the sculpture of a young reader sitting atop 16 books showing all the titles of the exhibition and also the robot sculpture sitting on Isaac Asimov’s book Robot Visions with five large books used as a plinth (total height 120 cm). Some of the other inspirational books featured in various sizes are The Agony & the Ecstasy; Snuggle Pot Cuddle Pie; Rodin; Shogun; and Dante’s Divine Comedy.

“I have made key character, inspiration and themes from the books literally emerge out of the pages and into my sculptures,” Foote added.

Interestingly, Mr. Foote's career largely began when his wife was searching for a large dragon-like gargoyle to put on the roof of their new house and couldn't find one.

Here are some more from children's literature (although James and the Giant Peach always recalls Momotaro Peach Boy for me):

And you can see even more of Graeme Foote's work from this exhibit HERE as well as some of his other large ceramic and stone work HERE.

"Snow White and the Huntsman 2" Gearing Up, Hunting for Different Director

There has been interest in Snow White and the Huntsman 2 ever since the first movie. (You can see a previous post HERE.) There's been at least one script, Kristen Stewart is definitely attached and apparently Chris Helmsworth is also contractually obligated to return to reprise his role as the Huntsman as well (which will help the movie enormously).

The directors rumored to being considered are an interesting bunch, (original director Rupert Sanders is not among them) suggesting that they're working on making this it's own - hopefully decent - movie, rather than (just) a money-spinner sequel.

From Deadline this past week:

 Universal is getting down to finding a helmer for Snow White And The Huntsman 2. I’m hearing the shortlist consists of Frank Darabont,Gavin O’Connor and Andy Muschietti. 

...This is an intriguing group of filmmakers. Darabont, after helming The Shawshank Redemption and The Green Mile, hatched The Walking Dead and helped forge it into cable TV’s top-rated drama before getting fired. He hasn’t helmed a feature since 2007′sThe Mist. Then there is O’Connor, who directed the cult favorite film Warrior as well as Miracle and stepped in and saved the Natalie Portman starrer Jane Got A Gun. Then there is Muschietti, the Mama helmer who was tapped by Universal to reboot its The Mummy franchise, before he fell out of that project. 

I'll admit I'm intrigued by the idea of Frank Darabont helming and what he could bring to the film.

Universal are also pushing for a 2016 release date so we're talking about SWATH2 being on the fast track to see it happen by then (what the reality turns out to be, we shall see).

A sequel has the strong potential to be an interesting exploration of the Snow White character - possibly - but chances are we're in for more faux-medieval intrigue, politics and war rather than Enchanted Forest explorations. Still, with Maleficent doing so well and the forest and faerie being an enormous part of that movie, this may also be the reason SWATH2 has been put on the fast track. ie. want more enchanted forests? We can do that! Also, the similarities between Maleficent and Snow White and the Huntsman are most definitely present and in a way which shouldn't hurt a  SWATH sequel at this point, unless, perhaps, you look at them so specifically, like this:

Ah the power of editing! You might be surprised at just how many films you could "parallel" this way. Still, they're both "sleeper" stories and DO have many things in common, as far as fairy tales go (Heidi of SurLaLune can tell you all about it!), and it doesn't hurt that the two "queens" here have been posed in similar ways either (ah Hollywood, we love you, but..!)

It could go so many ways. While I can easily imagine a premise and plot worthy of fairy tale research and exploration, unless Disney's obvious push in that direction is an influencing factor, I can't see that happening (unfortunately. It could really be quite wonderful...)

Hollywood seems a little confused at present: fairy tales = BIG! as are super heroes. Fantasy still dominates the box office when it appears - whether that be a family film or adult, so the property of Snow White and the Huntsman has a lot of options but it doesn't seem great at committing to one thing, (perhaps for fear of alienating potential audiences). I'd be very surprised, though, if they strayed completely away from fairy tale and fantasy and went into the Game Of Thrones/Reign genre (or whatever they're calling that style). That just doesn't seem like good business sense in the current climate. I guess we shall see... #moregirlsinmorearmor?

What are you looking forward to?

Me - I'd love to see more of this guy:

"Thorn Rose" by Errol Le Cain

Thorn Rose is the Brothers Grimm version of Sleeping Beauty (titled Little Brier-Rose) and one of my favorite illustrators, Errol Le Cain, created a stunning set of illustrations for it. Being the current hot topic fairy tale in entertainment at the moment (and that I haven't ever posted more than a couple of these illustrations), I thought I'd treat you to the set.

I decided to include most of the close-ups I found as well, so you can really see the detail in the illustrations (not just "bits" but design motifs, story touches, uses of shadow and shape and much more. It's really amazing to see how much is in these drawings and yet they're still beautiful to look at without being overwhelming.

Does it look familiar? Maybe you remember Botticelli’s Prima Vera. The branches are very much like the windows we see later, though less thorny.

Botticelli's Prima Vera

This also shows the arrival of the evil fairy at the christening. She is furious at being left out. You cant see it so clearly in this picture, but she is surrounded by autumn leaves, a nice contrast to the springtime of the “prima vera” fairies.

The thirteenth fairy's wings are like a wind-bufffeted, decaying flower turning into a storm cloud. In fact, the whole aspect of the thirteenth fairy recalls a storm. Also note the dragon staff she has as well.

Notice the evil fairy overlooking this, sitting up there on her little dragon, while the good fairy sadly looks on the destruction, toting a spindle-like wand. Also note the babyBrier Rose reaching out to the spindles as they go by below...

Can you see the little devil-fairy-imps that surround her?

Check that window design - an echo of the wall of thorns to come

As a bonus, I found a wonderful paper on Errol Le Cain's illustration as manuscript illumination by Veronica Ortenberg West-Harling and I am posting some excerpts from it below. (You can read the whole article which goes into much more depth, HERE.)

…all of these carry out a strong medievalist flavour in their choice of decoration and visual cues. First and foremost of these cues is the repeated representation of the fairyland multi-turreted castle, whether as a background illustration in the opening or closing pages in King Arthur's Sword and in Molly Whuppie (where it serves as a contrast to the Giant's house in the forest), or as the main focus of the story in Thorn Rose, Cinderella, and Twelve Dancing Princesses. This leitmotif is joined by a variety of medieval images, constructed from various sources, most notably in Thorn Rose, where the opening page weaves subtly in a picture based on late medieval French and Italian costumed ladies, in front of a tent with pennant, as seen in the Lady with the Unicorn tapestries or in paintings by Uccello, moving about in a millefleurs landscape* of the kind so often seen in such tapestries of hunting or courtly love parties. The next page fairy procession, also travelling through the forest at night in a millefleurs setting, includes a fairy riding a unicorn. 

The fifteenth-century setting continues through the castle style and courtiers' dress, and develops the Gothic theme of nature as it encroaches more and more on the palace through the growing wall of thorns, until the prince arrives, a hundred years later, correctly attired in Renaissance dress, to wake up the princess. All full-page illustrations in Sir Orfeo refer specifically to a fifteenth-century court: headdresses, caparisoned horses, knights in Crusader tabards are all present. This medieval fantasy style is used by Le Cain for the upper socialechelons of king, princesses and courtiers, often appearing seated at banquets, dressedin the appropriate brocades, furs and headgear. By contrast, a second type of medievalinspiration, used for the 'below stairs' folk, for example the castle's kitchen in Thorn Rose, or the giant's house in Molly Whuppie, comes from Flemish painting, especially Brueghel, in imitation of the peasants' costumes, activities and human types (the fat cook, the kitchen maid plucking a fowl, the round-faced children). 

Fascinating stuff! While I've been aware that one of the reasons I love Le Cain's work is because it reminds me of tapestries such as The Lady and the Unicorn series, I'd never thought about the motifs and more in such detail. The more I see, the more I see - the balance of shapes and colors, the repeated motifs, the repeated patterns and layouts echoing various pages - it's astonishing work.

I remain in awe of this illustration every time I see it.
Do I detect a Klmit influence in there as well? If so, I LOVE this version of the style.

 Notice her hair has been spun into the spiderwebs, and the stained glass shadows on her blankets.

The article, in which the author has obviously looked at the medieval motif and tapestry aspects in great detail, is very interesting and well worth the read, especially if you are interested in design or illustration. Recommended!

*Millefleurs landscape - I even like how it sounds. I'm all inspired to paint a whole wall  in this tapestry-like background! Unfortunately, I don't think our landlord would be quite as thrilled (though you never know...)