#john cockshaw

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The wisdom of Treebeard (pencil study)

by John Cockshaw

'Ent the earthborn, old as mountains' 

A lengthy but fascinating period of time scrutinizing and photographing tree surface characteristics, branch and bark details led to a library of images that could be references and drawn upon to conjure up a likeness and a portrayal of Treebeard.

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Trees play an integral role in Middle-earth in various ways, and I’m fascinated by Tolkien’s term ‘Ent’, which is found to be derived from the Old English term for ‘Giant’ and conjures the specific mystical vision of trees taking human form. This vision is used to such a visually striking effect in the character Fangorn or Treebeard, who resides in the equally mystical Fangorn Forest in The Two Towers. - The dreams of trees unfold, by John Cockshaw

The setting for this piece, an area of Woodland near the River Laver in North Yorkshire, is one that I walk through daily in the spring and summer months.  Looking, as it does, over the river it presented an interesting spot to introduce an Ent, one of Tolkien’s tree-herds. Here, a wandering Ent rests in order to enjoy the tranquillity of this lighter part of Fangorn Forest, taking solace to enjoy the cool and the green – and in turn maybe this summons poignant feelings of regret about the loss of their dear Ent Wives. Given that this area of local woodland isn’t as wild or forbidding as one might expect Fangorn Forest to be, it certainly offers a more sympathetic and wistful depiction of an Ent in homely surroundings. The idea for this piece was triggered by many elements, firstly that of the many tree trunks and tall spindly trees in this same woodland that looked like lower limbs and legs. Further scrutiny of bark and surface detail provided the fascinating likenesses of facial features that add character to the final composition. I was certainly thinking of Treebeard for this piece, cutting a proprietorial and watchful presence in the forest.

Trees play an integral role in Middle-earth in various ways, and I’m fascinated by Tolkien’s term ‘Ent’, which is found to be derived from the Old English term for ‘Giant’ and conjures the specific mystical vision of trees taking human form. This vision is used to such a visually striking effect in the character Fangorn or Treebeard, who resides in the equally mystical Fangorn Forest in The Two Towers.

Using augmented photography was a deliberate choice to capture an ordinary sense of realism where, if you look closer, the fantastic or mystical element is barely concealed. As mentioned the photographic elements are derived from Yorkshire near Leeds, which creates a nice link to J.R.R Tolkien’s time spent at The University of Leeds where worked on his translation of Sir Gawain and the Green Knight, that other famous literary giant in green.

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Lady of the Woods (2012)  by John Cockshaw

“Here is the heart of Elvendom on earth”

…under a pale evening sky pricked by a few early stars…mallorn-trees taller than any they had yet seen in all the land.  Their height could not be guessed, but they stood up in the twilight like living towers.  In their many-tiered branches and amidst their ever-moving leaves countless lights were gleaming, green and gold and silver…’Welcome to Caras Galadhon!...Here is the city of the Galadhrim, where dwell the Lord Celeborn and Galadriel the Lady of Lorien.’

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Deep places of the world (2012) by John Cockshaw

“They peered out. Before them was another cavernous hall. It was loftier and far longer than the one in which they had slept. They were near its eastern end; westward it ran away into darkness. Down the centre stalked a double line of towering pillars...a red glow was darkly mirrored in their sides...a fierce red light came, and now and again flames licked at the brink and curled about the bases of the columns.  Wisps of dark smoke wavered in the hot air.” -- The Bridge of Khazad-Dum, The Fellowship of the Ring

This piece takes inspiration from the work of renowned Tolkien illustrator Alan Lee and his concept for the cavernous Dwarf Halls found deep in Moria, and also the majestic but haunting music that Howard Shore composed for this environment inThe Fellowship of the Ring (2001). The fire-fuelled menace of the Balrog is hinted at to the rear of the composition resulting in a burning glow that dominates the cavernous hall suggesting how near at peril the company of the fellowship presently are. A rocky surface texture is given to the piece, appropriate and resonant to its deep and ancient underground setting. One of the locations that provided the inspiration and reference points for this composition was that of the amphitheatre of El Jem in Tunisia.

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A House in the Old Forest by John Cockshaw

Strange furtive noises ran among the bushes and reeds on either side of them…They began to feel that all this country was unreal, and that they were stumbling through an ominous dream that led to no awakening. -- Chapter 6 The Old Forest

The dreamy quotation from Chapter 6 shaped the photograph here, 'A House in the Old Forest'. It is simultaneously meant to be and not meant to be Tom Bombadil's house -- as if it could exist as a figment in the imagination and a trick of the eye as the hobbits venture through this unreal country and deeper into the forest.  Indeed it could be a vision encountered before they encounter Tom. As a depiction of Tom Bombadil's house, the image takes a definite departure from the source description of Tolkien’s text. This is a house tucked away and hidden rather than being exposed to the elements -- existing deep in the old forest at the foot of a murky green lake. To support the notion of the house being a dream-like mirage and a suggestive vision that could equally exist or not if looked for again -- there is another element equally suggestive. Standing in the doorway, almost imperceptibly, is a figure in blue that may reference the colour of Tom Bombadil’s garments, but equally it could be a hobbit. It is an open-ended enigma... see what you wish.

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In the company of Autumn by John Cockshaw

A need to venture far from home Is pressing high above all other tasks But let hesitation have its short hour For ahead but a short distant is Autumn With air that kindles a sense of adventure

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The Wraith watches by John Cockshaw

Round the corner came a black horse, no hobbit-pony but a full-sized horse; and on it sat a large man, who seemed to crouch in the saddle, wrapped in a great black cloak and hood, so that only his boots in the high stirrups showed below; his face was shadowed and invisible. - Chapter 3: Three is Company

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A secret only fire can tell monochrome variation of a full-colour piece by John Cockshaw

To Frodo's astonishment and distress the wizard threw it suddenly into the middle of a glowing corner of the fire. Frodo gave a cry and groped for the tongs; but the wizard held him back ... No apparent change came over the ring ... The room grew dark and silent ... then he stooped and removed the ring to the hearth with the tongs, and at once picked it up. Frodo gasped. -- Chapter 2: The Shadow of the Past