Amelia’s Magazine | Dark fairytale: An interview with artist and illustrator Natasha Chambers

Babylon Twins

Dreamy, try intricate details dominate Natasha Chambers’ work, viagra sale and you can easily imagine her immersed in creation, viagra sitting by a large window overlooking some light-drenched Cornish beach. Cups of tea go cold as she pieces together the exquisite tiny patterns or the bold colours of her latest ‘Bywa’ series, a homage to the stories and beauty of Cornwall. But as Natasha has entitled one of her collages, ‘You need chaos in your soul to give birth to a dancing star’ – there are also hints of darkness underneath all the beauty. You can’t have one without the other.

Watergate (part of Bywa)

Most of your work has an amazing level of detail, be it the horses as waves, embroidery patterns or the butterfly wings. It’s beautiful, but it must be very time-consuming?
It is really time consuming, but I get all my satisfaction from the details. It’s a double-edged sword because these details also drive me mad. Sometimes the dots and lines imprint themselves in my head in the same way as when you look at the sun and then look away and you see suddenly see black spots.

There seems to be a lot of nostalgia in your work, or maybe this is just what it feels like when a piece of art focuses on nature? Do you consider yourself a nostalgic person?
I suppose I am a nostalgic person – and perhaps nature and childhood are synonymous in these feelings of the past. I have a box on my dresser, a treasure box if you like that could belong to a magpie, where I hoard broken bits of things that I have picked up over the years that I am unable to part with.

Yesterday

While the work is very pretty, there are also plenty of slightly twisted elements within the art, with the snakes and skulls. Do you do this to create contrasts, or is it because beauty on its own can be a bit, well, dull?
With every fairy tale there is always a dark side that creates tension with its lighter facade. You only have to think of the stories of Hans Christian Andersen, the fairy tales of the Brothers Grimm or even Walt Disney to see there is always this balance. Imagine Snow White without the Evil Queen.

In Stitches

I first saw your work at the Last Tuesday Society’s Beasts Royal exhibition (review here), and you’ve been part of prior shows there as well. Could you tell us a bit about what it’s like to work with the amazing Last Tuesday Society please?
Mr Wynd has a fine collection of treasures. His shop makes you feel like a child in sweetshop, so I was obviously very pleased to have some work there. The show Beasts Royal was curated by Alice Herrick, who also curates the House of Fairy Tales with Gavin Turk and Deborah Curtis. Their shows are consistently beautiful and intriguing – bringing together a wonderful selection of artists to show in some great spaces. Shows have included the exquisite trove exhibition at the Newlyn Art Gallery and the House of Fairy Tales at the Saatchi Gallery and Millennium Gallery in St Ives. In Newlyn, each artist was invited to donate an object of interest to them either created or found to create a wonderful cabinet of curiosities amongst a plethora of carefully selected objects from museums across the Cornish county.

Bowerbird (part of Beasts Royal)

How do you build up your work? What inspires you?
It usually evolves through many stages and I work using quite a ramshackle but huge library of reference material. I am especially inspired by the narrative form of literature. I studied storytelling in LA and whilst I thought I would become a writer realised I was more interested in the static image. At some point I would like to return to the written word. I can remember quite vividly the books I was read as a child from their images, they’re works of art that are very engraved into my psyche.

Polzeath (part of Bywa)

The Bywa series seems different from your other work. There is less detail, but there’s also really wonderful use of colour with the green clouds and pink sky. I especially love Polzeath, the one with white-patterned sand and skies. What’s the inspiration behind this series?
I live in Cornwall, and apart from the stunning beauty of the area I live in, it is also rich in legends and it feels like the land itself breaths this ancient folkloric history. I find it very inspiring. Bywa means ‘to be alive’ in Cornish, or Kernuek. I thought this was an appropriate title especially given as the work became vividly coloured. The most recent pieces in the series, such as St Enodoc and Watergate, are almost made up entirely of dots and lines and are very intricate. St Enodoc even has a few lines of one of Sir John Betjeman’s poems half hidden in a cloud – he was very fond of this part of Cornwall and is now buried in the church.

Yellow

You do commissioned work for magazines, music and advertising. How did you go from being a design student to being a successful working artist?
After I graduated I was forced to do commercial work as a way of creating income but these projects were also useful in developing technical and artistic confidence and also a linguistic freedom. I have gradually tried to spend more and more time on my own work. I’m currently working some new ideas for an exhibition coming up, but also some commissions and other work.

Natasha Chambers

See more of Natasha Chambers’ work on her website.

Categories ,Alice Herrick, ,art, ,Beasts Royal, ,Brothers Grimm, ,Bywa, ,Cornwall, ,Deborah Curtis, ,Disney, ,Fairy tales, ,Gavin Turk, ,Hans Christian Andersen, ,House of Fairy Tales, ,Millennium Gallery, ,Natasha Chambers, ,nature, ,Newlyn Art Gallery, ,Saatchi Gallery, ,Sir John Betjeman, ,storytelling, ,The Last Tuesday Society, ,Viktor Wynd Fine Art

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Amelia’s Magazine | Dark fairytale: An interview with artist and illustrator Natasha Chambers

Babylon Twins

Dreamy, try intricate details dominate Natasha Chambers’ work, viagra sale and you can easily imagine her immersed in creation, viagra sitting by a large window overlooking some light-drenched Cornish beach. Cups of tea go cold as she pieces together the exquisite tiny patterns or the bold colours of her latest ‘Bywa’ series, a homage to the stories and beauty of Cornwall. But as Natasha has entitled one of her collages, ‘You need chaos in your soul to give birth to a dancing star’ – there are also hints of darkness underneath all the beauty. You can’t have one without the other.

Watergate (part of Bywa)

Most of your work has an amazing level of detail, be it the horses as waves, embroidery patterns or the butterfly wings. It’s beautiful, but it must be very time-consuming?
It is really time consuming, but I get all my satisfaction from the details. It’s a double-edged sword because these details also drive me mad. Sometimes the dots and lines imprint themselves in my head in the same way as when you look at the sun and then look away and you see suddenly see black spots.

There seems to be a lot of nostalgia in your work, or maybe this is just what it feels like when a piece of art focuses on nature? Do you consider yourself a nostalgic person?
I suppose I am a nostalgic person – and perhaps nature and childhood are synonymous in these feelings of the past. I have a box on my dresser, a treasure box if you like that could belong to a magpie, where I hoard broken bits of things that I have picked up over the years that I am unable to part with.

Yesterday

While the work is very pretty, there are also plenty of slightly twisted elements within the art, with the snakes and skulls. Do you do this to create contrasts, or is it because beauty on its own can be a bit, well, dull?
With every fairy tale there is always a dark side that creates tension with its lighter facade. You only have to think of the stories of Hans Christian Andersen, the fairy tales of the Brothers Grimm or even Walt Disney to see there is always this balance. Imagine Snow White without the Evil Queen.

In Stitches

I first saw your work at the Last Tuesday Society’s Beasts Royal exhibition (review here), and you’ve been part of prior shows there as well. Could you tell us a bit about what it’s like to work with the amazing Last Tuesday Society please?
Mr Wynd has a fine collection of treasures. His shop makes you feel like a child in sweetshop, so I was obviously very pleased to have some work there. The show Beasts Royal was curated by Alice Herrick, who also curates the House of Fairy Tales with Gavin Turk and Deborah Curtis. Their shows are consistently beautiful and intriguing – bringing together a wonderful selection of artists to show in some great spaces. Shows have included the exquisite trove exhibition at the Newlyn Art Gallery and the House of Fairy Tales at the Saatchi Gallery and Millennium Gallery in St Ives. In Newlyn, each artist was invited to donate an object of interest to them either created or found to create a wonderful cabinet of curiosities amongst a plethora of carefully selected objects from museums across the Cornish county.

Bowerbird (part of Beasts Royal)

How do you build up your work? What inspires you?
It usually evolves through many stages and I work using quite a ramshackle but huge library of reference material. I am especially inspired by the narrative form of literature. I studied storytelling in LA and whilst I thought I would become a writer realised I was more interested in the static image. At some point I would like to return to the written word. I can remember quite vividly the books I was read as a child from their images, they’re works of art that are very engraved into my psyche.

Polzeath (part of Bywa)

The Bywa series seems different from your other work. There is less detail, but there’s also really wonderful use of colour with the green clouds and pink sky. I especially love Polzeath, the one with white-patterned sand and skies. What’s the inspiration behind this series?
I live in Cornwall, and apart from the stunning beauty of the area I live in, it is also rich in legends and it feels like the land itself breaths this ancient folkloric history. I find it very inspiring. Bywa means ‘to be alive’ in Cornish, or Kernuek. I thought this was an appropriate title especially given as the work became vividly coloured. The most recent pieces in the series, such as St Enodoc and Watergate, are almost made up entirely of dots and lines and are very intricate. St Enodoc even has a few lines of one of Sir John Betjeman’s poems half hidden in a cloud – he was very fond of this part of Cornwall and is now buried in the church.

Yellow

You do commissioned work for magazines, music and advertising. How did you go from being a design student to being a successful working artist?
After I graduated I was forced to do commercial work as a way of creating income but these projects were also useful in developing technical and artistic confidence and also a linguistic freedom. I have gradually tried to spend more and more time on my own work. I’m currently working some new ideas for an exhibition coming up, but also some commissions and other work.

Natasha Chambers

See more of Natasha Chambers’ work on her website.

Categories ,Alice Herrick, ,art, ,Beasts Royal, ,Brothers Grimm, ,Bywa, ,Cornwall, ,Deborah Curtis, ,Disney, ,Fairy tales, ,Gavin Turk, ,Hans Christian Andersen, ,House of Fairy Tales, ,Millennium Gallery, ,Natasha Chambers, ,nature, ,Newlyn Art Gallery, ,Saatchi Gallery, ,Sir John Betjeman, ,storytelling, ,The Last Tuesday Society, ,Viktor Wynd Fine Art

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Amelia’s Magazine | Book Review: The Fairy Tales of the Brothers Grimm

The Fairy Tales of the Brothers Grimm

Once upon a time, someone realised that it had been 200 years since the original publication of Jacob and Wilhelm Grimm’s Children’s and Household Tales, and over ten years since a major English translation had been completed. It was also Taschen’s 30th anniversary; time to release a book that would speak to their readers’ families – and so this book was born.

Little Red Riding Hood illustration by Divica Landrová 1959
Little Red Riding Hood illustration by Divica Landrová, 1959

The Fairy Tales of the Brothers Grimm

It’s an exquisite collection that’s a delight to delve in to, whether you have minutes or hours at hand. In the former case, it comprises 27 of the stories – some well-known, others less so – which can be easily dipped in to as a short snippet before bedtime. In the latter, there’s space to explore the very appealing introduction which outlines the origins of the tales as being for anthropological and archival purposes, rather than as stories expressly devised for children.

The Goose Girl painting by Jessie Willcox Smith 1911
The Goose Girl painting by Jessie Willcox Smith, 1911

The Fairy Tales of the Brothers Grimm

Afterwards, the popular stories are laid out chronologically, interspersed with the lesser known tales. The whole collection ends with a thoughtful appendix containing the artists’ biographies, which also usefully operates as a concise history of illustration between the 1820s and 1950s.

The Fairy Tales of the Brothers Grimm

In 2005, UNESCO decided to include the Grimms’ fairy tales in their Memory of the World Register, which catalogues historical documents that are globally significant and carry universal value. Reading through this unabridged translation, which closely follows the original text, it’s easy to see why. These morality tales are entrenched in the way we read and think about storytelling, and had a major impact on children’s literature and the field of illustration generally. Reflective of the many regions they came from, the stories’ influence has been global – hence the international mix of illustrators on display here.

The Fairy Tales of the Brothers Grimm

Older readers will recognise the familiar titles, but there are some which may yet be new, and in any case there is much to rediscover in the old classics. Each story is prefaced by an opulent double-page spread, with a symbolic white silhouette on the left, and on the right, perhaps in Grimm-Brothers mode, a page putting the tale in its cultural, geographic and linguistic context. For instance, did you know that the names Hansel and Gretel are diminutives of the German names Johannes (John) and Margarete (Margaret)?

The Fairy Tales of the Brothers Grimm

The content of the stories is largely expected and comforting in its familiarity, with shape-shifting creatures, conspiring animals, orphaned children, sorceresses and happily ever afters. The quality of the storytelling – the lively language and perfectly pitched dialogue – is superb, but really compelling are the twists in the tale where an unusual or darker take on the story has been used.

The Fairy Tales of the Brothers Grimm

In The Frog Prince, the frog is hurled against a wall rather than kissed, and in Cinderella, the evil stepsisters are gushing blood as they cut off their heels and toes to try and fit into the lost slipper. It’s a wonderful way of keeping our attention while highlighting the nuances in different versions of the stories.

The Fairy Tales of the Brothers Grimm

The marvellous illustrations are another critical factor in our enjoyment of this book. Be sure to see Wanda Gág’s black and white folk art drawings in The Fisherman and His Wife, the fluorescent poster-art images from Herbert Leupin in Sleeping Beauty and Puss ‘n Boots, and the colour lithography from Hanns Anker, who helps Cinderella transform in to an Art Nouveau princess.

The Fairy Tales of the Brothers Grimm

And don’t miss Gustav Süs’s handcoloured lithographs for the hilarious story The Hare and the Hedgehog, about a race for a French gold coin and a bottle of brandy.

The Fairy Tales of the Brothers Grimm

The book ends with The Golden Key, which has closed all Grimm tales since their second edition in 1815 – it leaves you craving more stories, and so it all begins again.

The Fairy Tales of the Brothers Grimm is edited by Noel Daniel, newly translated by Matthew R. Price with Noel Daniel, and published by Taschen.

Categories ,Brothers Grimm, ,Children’s and Household Tales, ,Fairy tales, ,Gustav Süs, ,Hanns Anker, ,Herbert Leupin, ,Taschen, ,Wanda Gág

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