I was commissioned some time ago to do a charcoal drawing of a walnut tree which had to go under the tree surgeon's knife. The owners wanted a record of how the tree looked before its treatment. I was familiar with this tree, as I'd seen it change through every season, from the first reddish leaf buds of spring through the shady canopy of summer, to the autumn harvest, and the re-emergence of skeletal branches in winter. It was the winter form that the owners favoured, because it was then that the full character of the tree was revealed. And it certainly was a characterful tree. In some lights the numerous springy twigs gave it a dancing quality, in others it was gnarled and stolid. Against an evening sun its upper branches resembled the tracery of a stained glass window. Where it had been lopped once before, several whipping branches sprouted out at an angle that made the tree appear like an arboreal skater, flinging itself into a wild spin. The owners were eager to point out its other features, such as the bizarre shapes that were secreted among the myriad branches. Could I see the tree sprite which was perched half way up on the right hand side? And now could I see the parrot, right next to it? They liked the idea of keeping the tree sprite, but could I lose the parrot? This was something of a challenge, because one of the tree sprite's arms also formed part of the parrot's beak. Once you've seen a picture within a tree you can't un-see it, and as I worked I found that further unwanted images kept appearing in the spaces between branches, in the complex interplay of twigs, and more annoyingly still, in my ever-mounting sketches. Wherever I positioned my easel, I found that one particular branch contrived to strike out at a contrary angle that threatened the harmony of the entire composition. As far as that branch was concerned I could happily have done the tree surgeon's job for him, but this was the branch in which much of the character and dancing quality of the tree could be found, so I had to find a way of resolving it without resorting to stealing in under cover of darkness with a hack saw. At last, after a number of visits and a sheaf of variations, I had a portrait of the tree with all its branches intact, minus any haunting shapes, and with all its complexity of character finally pinned down to the clients' satisfaction. Solid, but dancing... Brooding, but huggable... Ancient, but vigorous... The commission was framed and delivered. The clients stood back to view it. There was a silence deeper than within the heart of any forest. Finally, someone spoke. 'I can see our church.' 'Where?' I focussed on the spot where the finger was pointing. There, at the foot of the tree, among the smudged marks of the undergrowth, was the unmistakable image of our village church. How had I done that? I really didn't know. It was a fluke. A few dancing movements of the charcoal stick, and there it was. Not a parrot. Not a tree sprite. Our church. The more we looked the more the image of the church asserted itself. I offered to smudge it out, but no, they wanted to keep it. 'It could become your 'signature' piece, like the famous Mouse Man,' they suggested. 'You could get people queueing up to find the ghostly image of our church secreted somewhere in your paintings. You could hide it in the clouds, or the foliage, or in all that marsh you're fond of painting. It could be your very own Unique Selling Point.' 'Hmm,' was my non-committal reply. I always welcome suggestions from clients. Some I take on board, and others receive this non-committal, 'Hmm...' ~ 'The Walnut Tree' was worked in charcoal on half imperial (22" x 15" approx) Canson mi teintes paper. Look carefully, and you may or may not discern the ghostly image of a church hidden within the undergrowth. I am not going to tell you where it is. If you have a walnut or any other favourite tree of your own that you would like recording for posterity, please get in touch with me via the Contact page.
I'm pleased to report that the operation on the tree was a success and it is once more thriving.
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Judith Key
Judith Key is a Norfolk based artist, working in watercolour and pastel. She has exhibited with the Society of Graphic Fine Artists and New English Art Club at the Mall Galleries, London. Her paintings are in collections worldwide. Categories
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May 2018
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