‘War + Peace’, Selected Biro Drawings 2008 – 2014

'War + Peace', Selected Biro Drawings 2008 - 2014 by Jane Lee McCracken, Front Cover

‘War + Peace’, Selected Biro Drawings 2008 – 2014 Limited Edition Hardback Book by Jane Lee McCracken, 2014, Cover

Published today, I am delighted to say that 50 limited edition copies of my new book are now available.  Here is some information about ‘War + Peace’ and a look inside!

” ‘War + Peace’, by multimedia Artist Jane Lee McCracken brings together a selection of her intricate Biro drawings. This beautifully produced hardback book replicates every detail of Jane’s black and colour Biro drawings from several bodies of work spanning 6 years, including, ‘Tales from the East’, ‘The Woodcutter’s Cottage’, ‘In Homage to the Last Carnivores of Eurasia’ and her recent artwork for conservation projects. Inspired by her passion for childhood memoirs, fairy tales, travel, forests and animals and her continuing exploration of the themes of ‘war’ and ‘loss’, multimedia artist Jane makes multiplex, layered drawings in colour or black Biro, using her drawings as inspiration to create objects and installations.  Taking photographs of films and documentaries, her muse lily, people, animals and found objects as the foundation of her work, she builds complex layers of drawn images in Biro as if film still projections, resulting in monotone or colour abstracted pieces with an ethereal, cinematic quality.  Her aim is to make art that represents the beauty and brutal reality of life thus creating “memorials of lives lived, both human and animal and ways of life lost”. Evoking consideration of loss whether through war or disaster, her work draws upon empathy for the emotional or physical scars experienced by humans, animals or the environment.”

EDITION:

Limited Edition of 50 Hardback Books

Signed and numbered in gold with personal dedication option included

Original Gold Tiger Drawing produced in each copy

To purchase or for further information:

www.janeleemccracken.co.uk/shop/artbook

 Here is a taster of what’s inside! 

'War + Peace', Selected Biro Drawings 2008 - 2014, by Jane Lee McCracken, 'American Dream' 2014

‘American Dream’, ‘War + Peace’ 2014

 

'Our Forefathers' & 'Mummy Bear and Baby Bear', 'War + Peace', 2014

‘Our Forefathers’ & ‘Mummy Bear and Baby Bear’, ‘War + Peace’, 2014

'Butterfly Lover', 'War + Peace', 2014

‘Butterfly Lover’, ‘War + Peace’, 2014

'The Cupboard' & 'Sindy and the Troika', 'War + Peace', 2014

‘The Cupboard’ & ‘Sindy and the Troika’, ‘War + Peace’, 2014

'TV Screen II - Where Wolves and Bears Dare', 'War + Peace', 2014

‘TV Screen II – Where Wolves and Bears Dare’, ‘War + Peace’, 2014

'Shh, it's a Tiger!', 'War + Peace', 2014, Back Cover

‘Shh, it’s a Tiger!’, ‘War + Peace’, 2014, Back Cover

Original Gold Tiger Drawing in each book.

Original Gold Tiger Drawing in each book.

Advertisements

‘Russian Doll’ – Remembering Female Victims of War

'The Russian Doll', red, black, blue and green Biro drawing by Jane Lee McCracken

‘The Russian Doll’, red, black, blue and green Biro drawing by Jane Lee McCracken

Adopting the iconic image of the Russian doll, this drawing was made as a memorial to women and young girls  who were/are the victims of violence during war.  A Russian Doll painted with the tranquil scene of Ivan Shishkin’s ‘Morning in a Pine Forest’, 1889, one of Russia’s most popular paintings, is layered with the image of Russian soldiers fighting in the Battle of Stalingrad during WWII.  Now a well documented fact, graphically conveyed in such writings as Anthony Beevor’s ‘Berlin: The Downfall 1945’ 2002, this piece represents the genocidal rape perpetrated by the Red Army as it surged towards Berlin.  The novelist Vasily Grossman, a front line war correspondent with the Red Army, dismayed at the mass rape committed by so many Russian soldiers on not only German women but liberated Polish and Russian women wrote,

“Horror in the eyes of women and girls” (‘A Writer at War: Vasily Grossman with the Red Army 1941-1945’).

The consequences of such violations often resulted/result in suicide, unwanted pregnancies and lifelong psychological and physical scars. By layering a self-portrait as part of the Russian Doll’s face, thus bridging awareness between statics and reality, this representation suggests that during war violence is indiscriminate and targets females of all ages and backgrounds.  Often a strategic weapon of war that has been used in conflicts since records began, it is still common today, recently in the Democratic Republic of Congo and with many incidents of rape being reported in the current conflict in Iraq.   At the very edge of the drawing appear the legs of a young girl, a reminder of the very young victims of war rape.

For further images from this series please visit my website.

What the Children Saw – ‘LORE’ and Generation War Child

'The Sideboard II', 2009, red Biro drawing by Jane Lee McCrackenThis triptych portrays memories of a small child at play in a sideboard, within the safety of ‘home’, before the onset of war. It was inspired by the girl in the red coat from the film ‘Schindler’s List’, 1993, Steven Spielberg, as she wanders through the Kraków Ghetto while it is being ‘cleared’’. The Artist uses her niece to model for this piece to highlight the indiscriminate nature of war and how it can affect ‘anyone’ and to provoke understanding of loss by seeing victims as individuals and not statistics.

‘The Sideboard II’, 2009, red Biro drawing by Jane Lee McCracken part of a “triptych (which) portrays memories of a small child at play using a sideboard, within the safety of ‘home’, before the onset of war… inspired by ‘the girl in the red coat’ from the film ‘Schindler’s List’, 1993, Steven Spielberg, as she wanders through the Kraków Ghetto while it is being ‘cleared’. This piece highlights the indiscriminate nature of war and how it can affect ‘anyone’ and provokes understanding of loss by seeing victims as individuals and not statistics.”

No child should see what generations of children growing up during war have seen or are seeing.  Their eyes are forced to soak up the bloody spillage engendered by the very generations who are supposed to guide them safely to adulthood.  ‘Collective guilt’ particularly after WWII often dictates a rule of silence leaving many children and young adults unable to express the horror they have witnessed.  Dealing inwardly with a recurring nightmare spawned from observing the grotesquery of war, can cause psychological catastrophe for many and a lifetime of suffering.

Saskia 'Lore', 2012

‘Lore’, Cate Shortland, 2012

‘Lore’, Cate Shortland’s 2012 film presents us not only with all of the above but ultimately shares a reality that has echoed down the years, ‘Only the dead have seen the end of war’, Plato

Lore and her siblings, 'Lore', Cate Shortland, 2012

‘Lore’, Cate Shortland, 2012

Through a fluttering curtained window into the cinematically exquisite trampled fairy tale of a fleeing Nazi family, teenage Lore turns her beautiful face towards the camera and commences the unravelling of her contorted mind of lies.  The chorally haunted forests of Schwarzwald provide the setting for an epic journey’s beginning, as Lore’s high ranking Nazi parents disappear into the forests deep in the American enclave, leaving their five children to find a way through the aftermath of WWII to Grandmother’s in Hamburg.  The extraorindary Saskia Rosendahl’s ‘Lore’ is forced to confront her Nazi indoctrination, anti-Semitism and hero-worshipping of her father whom she discovers to be a war criminal responsible for genocide; she witnesses the scaling denial of a nation, all whilst leading her young brothers, including baby Peter and her younger sister Liesel to safety.

'Lore',

Saskia Rosendahl’s ‘Lore’, Cate Shortland, 2012

Adam Arkapaw’s stunning cinematography often gentle and sun-blanched, has wisps of Gerhard Richter’s paintings flickering through it.  A motion parallel to Richter’s ‘Betty’, 1988 (Richter was himself a child during WWII) and homage to his blurred photo-paintings echo throughout the film especially in the sequence when Lore dances with her sister Liesel.

'Betty', 1988, Gerhard Richter

‘Betty’, Gerhard Richter, 1988

Many refugees experienced chance, often fleeting encounters with strangers who changed the course of their lives in the unwinding chaos of WWII Europe.  A Jewish concentration camp survivor, Kai Malina’s ‘Thomas’, covets Lore and eventually becomes the siblings guardian angel whilst Lore’s beliefs and body crumble in the rubble and decay of ‘Gomorrah’. The greatest achievement of this impressive film, for there are many, is to communicate a picture of what discovering the unfolding horror show of war looks like, as if we too are there sharing the unearthing with the children.  This film gifts us within a closer proximity than others of its ilk, of trying to comprehend the aftershock of WWII.

Lore and her siblings, 'Lore', 2012

Lore and her siblings, ‘Lore’, 2012

It is often impossible to put into words something you have never seen or experienced yourself, but “A picture shows me at a glance what it takes dozens of pages of a book to expound”, Ivan Turgenev. Perhaps images more than words help us ‘the unexperienced fortunates’ gain any sort of understanding of what witnessing the horror of war actually means.

Detail of Julien Bryan's "Ten-year-old Polish girl Kazimiera Mika mourning the death of her sister, caused by strafing German aircraft, near Warsaw, Poland. 13 Sep 1939"

Detail of Julien Bryan’s “Ten-year-old Polish girl Kazimiera Mika mourning the death of her sister, caused by strafing German aircraft, near Warsaw, Poland. 13 Sep 1939”

For further information about ‘The Sideboard’ triptych, please visit my website