Monday, 15 September 2014

Tokyo Sketchbook Part 2

Here are some more pages from my sketchbook in Tokyo this summer. I already posted this selection on Facebook, so apologies to my friends who've already seen them!


Wednesday, 10 September 2014

Tokyo Sketchbook Part 1

Over the summer in Tokyo I filled a sketchbook with pen drawings. I always sketch a lot when I'm in Japan, but it was particularly so on this trip, perhaps I was driven by the shear joy of being back in the city, it was as if something had been unlocked.

Some of these drawings were the kind of fantasy ideas and escapist shenanigans I regularly doodle. One or two were observed sketches inside restaurants...

Gonpachi Soba-ya, Azamino, Yokohama. 3rd Aug
But a very large number were observed drawings of people on trains, especially the Denentoshi line, which runs from Chuo-Rinkan through the northern Yokohama suburbs, across the Tama river into Shibuya, from where it continues through the middle of Tokyo as the Hanzomon line.

It's a long, snaking line and very busy, on the evening trains out of Tokyo to the suburbs its very difficult to find a seat nowadays, even outside the peak times. Compared to a few years ago the passenger dip between the rush hour and the late trains has become much shallower, there's very little difference between 7pm and 9pm. Waiting for a later train might be fractionally less crowded, but it still doesn't mean you'll be able to sit down.

Thus, many of my sketching chances were on journeys into town at midday, often on the slower local trains.

 Whenever opportunity allowed, I'd commandeer a seat and discretely draw those around me in my small pocket sketchbook. Curiously, despite standing out like a sore thumb as the only non-Japanese on the carriage, few people ever noticed that I was drawing, and I'm pretty certain none of the subjects were ever aware.

I think this is because many commuters simply shut off when they're on the train, they close their eyes in either real or feigned sleep, or fix their gaze on smart phones.

People effectively wrap themselves in their own worlds, oblivious to the rest of what goes on in the carriage. It's a gift of the Japanese commuter to be able to do this, perhaps due to the nature of Tokyo itself - in the neon drenched street of the urban centres so much is going on around, the noise, the flashing kanban, most people develop a selective awareness of the environment around them - they filter out the unwanted "noise" of the city, and thus preserve their sanity.

There is an art to survival in the metropolis - people concern themselves with details that interest them and are able to largely ignore the rest, train journeys can be meditative affairs, and if you want to escape entirely technology provides you with music, game apps or a read.

So I'm able to blithely sketch away on Tokyo trains undisturbed in a way I'd find difficult in the UK, not least because my train journeys in the UK are much rarer, with seat layouts that make it difficult to draw other passengers. Tokyo trains, with seats facing opposite, are the perfect life drawing class.

Another thing I noticed during this trip though, compared to former years - the poses are largely the same. In the past people would read books, talk, or whatever. Now, almost everyone who gets a seat on Tokyo trains does exactly the same thing - they sit, bag on knee, smart phone in hand, headphones in ears, and close their eyes.

My task is to unlock their thoughts and character through a lightning sketch, before they move or are blocked from view. It's one of the exciting things about sketching people on trains, the knowledge that you might only have a few fleeting minutes of opportunity.

Friday, 5 September 2014

Tokyo Exhibition report: In the Shadow of Giants

I've just returned from five heady weeks in Tokyo, soaking up life back in the old metropolis, the place I lived for nearly half my life. Every year daughter and I go back to Japan, usually in the summer, every year we return with new and unique experiences, the only constant being the humidity and the constant murmur of cicadas, though this year there were several unseasonably cool spells amidst the swelter.

It's wonderful to explore familiar locations, see old friends and family, but I also had a very busy schedule of preparation, culminating in a ten day solo exhibition at Space Yui in Aoyama, followed by another seven day show (currently still running as I write) at Yui Garden in Yokohama.

The front porch of Space Yui

No matter how many years go by my fascination with Tokyo remains undiminished, I try to be as busy as I can when we go back, it's a city that demands purpose and direction. As I no longer live in Japan I find that without such direction and with daughter mostly staying with her grandparents I start to feel an emptiness, ponder too deeply on the past and other topics best left alone. No, move on, on, always onwards! Like the city itself, my relationship with Tokyo is constantly evolving, the journey continues.

Hanging day at Space Yui with gallery owner Hideyo Kimura
It's On!
It's been busy, inspiring and very encouraging. The exhibition, still on at Yui Garden, centres around original artwork from my recent picture book Stone Giant (Ishi no Kyojin in Japanese), from which visitors can order Neograph prints (giclée art prints overprinted with a fine silkscreen to prevent oxidation and deterioration of colour, rendering prints that are virtually indistinguishable from artwork). I also created several smaller pieces of original art specifically for the show.

Book of prints, and artwork from Stone Giant
Some of the smaller images created especially for the show

The Librarian
Wolves in the Forest
The gallery staff have been supportive beyond measure, Space Yui is a key part of my platform in Japan, the care and encouragement I receive there is inspiriting and progressive, all credit due to Kimura-san and her team.

Opening party, with Komine Shoten editor Tsuyoshi Yamagishi
and author/illustrators Mitsuo Shinozaki, Eriko Ishikawa and Satoshi Kitamura
Opening party - with Togo Kasahara (Mikasa Shobo), designer Hiroyasu Murofushi
(I & I Inc) and Takeshi Fujisaki
Opening party, with illustrator Satoshi Kitamura (background),
Taiko Nakazawa (Ginza Gallery House), Tomoe Furuhashi and DJ Young Richard
The show at Space Yui began with a busy opening followed by a regular stream of visitors, I was quite overwhelmed by the large number of attendees. Signed copies of the Japanese edition of Stone Giant (Ishi no Kyojin) sold out within the first few days and had to be re-stocked by publisher Komine Shoten.

Signed copies of the Japanese edition Ishi no Kyojin
There were several highlight successes, the biggest being news of several competing offers for the Japanese rights to my next US book Crinkle, Crackle, Crack!. Written by Marion Dane Bauer (who also wrote the 2012 released Halloween Forest), the US edition is due for publication through Holiday House next year. I'll post more about the Japanese edition when details have been confirmed.

With art director Susumu Yamada (Tokyo Planet Design)
With members of SCBWI Japan
With Emi Noguchi
With my daughter and photographer Hitoshi Iwakiri

The exhibition is now on at the fabulous new gallery Yui Garden in Nakamachidai, Yokohama. In a building created by and for an architect's design office that overlooks Seseragi Park, the setting, interior and atmosphere is simply exquisite. If you're in the area before it closes on the 8th please do drop by.

Entrance to Yui Garden
The show at Yui Garden
It's been a wonderful summer. Many thanks to all the gallery staff and visitors to the exhibition!

Saturday, 9 August 2014

'In the Shadow of Giants' Exhibition at Space Yui

I'm currently in Tokyo again, preparing for my upcoming exhibition at SPACE YUI in Aoyama. The show runs from 21st-30th August, and will be chiefly showing original artwork from my recent picture book Stone Giant (Charlesbridge/Komine Shoten), plus there will be other original artwork on sale, copies of the book, prints and Tshirts. If you're in town please drop by the show! I'll be at the gallery from around 2pm daily.

Space Yui is open 11.00am-19.00pm daily (closed Sunday). Nearest stations are Gaienmae and Omotesando on the Ginza line.

After the close of the show at Space Yui, the exhibition will be re-shown for another week at a new gallery Yui Garden, set in the relaxed environment of Seseragi Park in Nakamachidai, Yokohama. However I'll be on my way back to the UK by then so won't be in the gallery.

Thursday, 24 July 2014

Summer Dreaming

Thinking of making a big splash this summer!

  ... here's hoping your summer dreams come true!

I'll be in Tokyo from the end of July throughout August, with an exhibition at Aoyama’s Space Yui running from 21st-30th August. Please drop by if you're in town.


Wednesday, 9 July 2014

Big Splash for Summer

It looks to be another hot summer, so here's a splash of cold water - another recent illustration for ANA's inflight magazine Wingspan.

It's to illustrate a piece about the opening of the world's biggest waterslide, the Verruckt in Kansas City in the USA, which was supposed to open in May. The drop is 168 feet, longer than falling off Niagara Falls, at speeds of up to 65 mph. Apparently the opening has been twice delayed, but now, finally, is happening, tomorrow!

Sounds exciting? Can't wait to try the jump? Off you go then, I think I'll just watch.  

Sunday, 15 June 2014

Tribute to my Dad on Father's Day

I thought I'd take the opportunity of Father's Day to show some of my dad's paintings.

I inherited it all from my father. Though I generally take after my mum, an imaginative and aspirational woman who had a great influence on my development, the nuts and bolts of drawing and painting is all from my dad.

Ken Shelley (after Charles Brooking)
Ken was born with a natural ability to paint, but had no opportunity to develop this in the post-war landscape of Birmingham, like many of his generation art school was out of the question, it was straight from school to National Service, then a succession of mechanical jobs in the metropolis. Ken worked tirelessly in often uncomfortable jobs to raise a family, and through that created the carefree space for me to explore my creativity. I was given the chance to pursue art in a way that was entirely denied his generation. I'm incredibly grateful to my parents for that.

Ken Shelley, (after Charles Brooking)
In the meantime Ken's own talent was completely suspended until he retired. Suddenly, with time to pursue art for the first time since he was at school, Ken picked up a paintbrush again and started produced a string of oil paintings, mostly focused on his love of the sea and the heritage of the English countryside.

Ken honed his technique producing copies of the great 18th century sea painters, which is a great way to learn. However he's also painted many of his own compositions, most of them covering the walls of his house, rarely seen by anyone. The next time I visit him I'll take some more photos and post some more.

Please do comment with feedback. Ken rarely paints now, few people ever see his work so he needs some encouragement, I'd love to see him pick up a paint brush again.

I own everything to my parents, however where my dad gets his painting abilities from though is much more of a mystery.

Happy Father's Day dad!