To draw in a realistic fashion with this in mind wouldn't work; what would realistic mean? The drawings needed to be more concerned with concepts than just illusion, like a sort of visual essay. I also wanted to avoid any specific cultural reference to an Aboriginal experience an obviously charged and problematic issue , and do so by pushing Marsden's metaphorical approach even further, creating something weird enough to thwart that sort of face value 'decoding', if you know what I mean.
You could say that the subject and its problems therefore dictated the necessary style to some extent, as with other books I've illustrated, which are all quite different. Scale is important in your compositions.
When the Rabbits first meet the But that slowly changes as the Rabbits become increasingly more dominant. It's subtle, but there nonetheless. What other devices if any did you employ that may not be immediately obvious? Well, I hope everything is self-evident at some level, if not immediately. I was concentrating mostly on giving each illustration have its own individual resonance, each sentence being a title for a particular painting, so most devices are contained that way.
There are a few continuities to stitch them together; the ominous darkening of colours in the beginning, contrasts between visual "noise" and "silence" and that sort of thing, all pretty obvious. There are some elements such as the clock, the flared pipe, the vector lines of the flag echoes by pipe building and strip mining , the unseen 'queen rabbit', and a recurrence of optical devices, which all have implicit but clear meanings.
Everything revolves around landscape, with a bigger natural picture containing everything the self-absorbed rabbits do in parentheses, it returns to a state of quiet repose. Most other devices can be described in terms of "pattern" in a very general sense, involving the varied repetition of "rabbit-made" and natural elements to suggest either dysfunctional power or environmental equilibrium - much simpler to show than describe! Some of the paintings seem to owe some allegiance to traditional "fine art".
For instance, some of your renderings seem to echo Fred Williams or Brett Whiteley. What artists or paintings did you draw on for inspiration?
I think I'm like most artists in being fairly omnivorous when it comes to inspiration or influence, which sounds more accurate in that it is less spontaneous. It's not something you exactly pick and choose; the work of other artists is just one aspect of a larger jumbled catalogue of everyday experience that includes everything from interesting books to interesting telephone poles.
Obviously surrealists such as De Chirico and Ernst enter somewhere, as with Australian artists such as Streeton, Williams, Olsen, Whiteley, Nolan, Boyd, Smart and Drysdale, whose paintings communicate in different ways with my own experience of a landscape that's both lyrical and ambiguous, and epic in proportion.
In a more focused way, I looked at a lot of nineteenth century drawings, etchings and photographs, especially about technology of the time.
Also ancient Egyptian friezes - the rabbits borrow some of their rigid, two-dimensional monoculture from those. I'd also just returned from a trip to Paris where I saw an exhibition of illustrations for children, mostly by French and Italian art and design students, all about creation myths, which were surprisingly sophisticated and inventive - an inspiring demonstration of how far you can push picture book design and illustration.
This probably had the biggest affect on me at the time. Some of the images are iconic, I'm thinking of that fabulous centre spread which is an That piece is a knockout!
Are you trying to stimulate some kind of resonance in the adult viewer? To some extent. A resonance at least, but not an homage or parody. I used that painting in the National Gallery of Victoria as a matter of convenience, as something to work around, hijacking that whole idea of staged, frozen grandeur, an entirely imagined scene, of course. The original painting was a point of departure, not really to refer back to in parody, although it doesn't hurt to read it in that trendy postmodern way I suppose, although it's a fairly closed response.
Hopefully the adult viewer will recognise the peculiar visual language and feeling of nineteenth century History Painting rather than the exact origin - the colour, composition and figure group style. The idea is accessible and relevant, it reflects the impact of the initial settlement, the expansion into traditional lands and the impact on living conditions into the modern day, ultimately asking whether we are prepared to accept responsibility and do something to reconcile our past.
I have used the picture book when teaching units on Indigenous history or as a companion text to other pieces exploring Indigenous issues. Students continue to find additional meaning, allusion and subtext every time I use the book.
As a result, the audience is able to interpret both simple and complex ideas within the pictures according to their own understanding. Firstly, several pieces of evidence within the text prove that the genre of the story is irony, in accordance with Frye 's "theory of myths". This essay shows exactly how those instances exemplify the genre of irony.
Additionally, from a deconstructive point of view, there is a central binary of constraint and freedom. Summary: The story is about two sisters, who had been giving a nice china rabbit each by their uncle. But the oldest girl is very manipulating, and manipulates her little sister, to give her the rabbit her little sister had been giving.
Then the older sister decides that she wants her own rabbit back, and she gets it her way. He wrote three more Rabbit novels, one at the end of the '60s, '70s, and '80s.
As stated before, there are many references to early Australian events in the text, which most people educated on the subject can recognize. Personally, I've found it stimulating in the sense that I'm forced to go in directions you otherwise wouldn't Newton's first law comes to mind - about inertia.
The reader can't make the connection through the most obvious word-picture recognition ie. He was going to try to help with the eggs next Easter. Meanwhile, the dark liquid coming out of both animals has connotations to blood and therefore suggests the idea of death. Hopefully an American, Asian or European reader, adult or child, can connect without necessarily knowing anything about Australian history. As stated before, there are many references to early Australian events in the text, which most people educated on the subject can recognize.
But, is it possible and how many pages is words? What kind of time frame was involved from manuscript to final delivery of artwork? The Rabbits Essay The Rabbits Essay Images are a universal language that appeals to a wider audience through techniques that give the pictures meaning. I think I'm like most artists in being fairly omnivorous when it comes to inspiration or influence, which sounds more accurate in that it is less spontaneous.