Glenn Ibbitson: five further Orwell book cover designs

glenn ibbitson Air 6

George Orwell; Coming up for Air:  eight layer screenprint  A1 size paper  2018

 

glenn ibbitson farm

George Orwell; Animal Farm:  seven layer screenprint  A1 size paper  2018

 

glenn ibbitson EYE

George Orwell; England Your England:  seven layer screenprint  A1 size paper  2018

 

glenn ibbitson Wigan Pier

George Orwell; The Road to Wigan Pier:  six layer screenprint  A1 size paper  2018

 

glenn ibbitson p&l

George Orwell; Down and Out in Paris and London:  six layer screenprint  A1 size paper  2018

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Glenn Ibbitson: Landscapes of Betrayal – further notes

The first time I used anamorphic distortions in one of my own compositions, it appeared at the feet of “The Claw” [2005]; one of the performers in the ‘Smoke and Mirrors” project. A self portrait can be identified at the figure’s feet if viewed from close to the lower left edge of the picture plane.

glenn ibbitson claw

The Claw: oil on canvas  122x 91cm

I have used an anamorphic portrait here in the “Landscapes of Betrayal” as a way of visually representing Winston Smith’s gradual realisation what Room 101 Holds in store for him… By moving from a central position in front of the artwork to the designated point of view at the left edge of the drawing, a confusion of half grasped visual information slowly morphs into a screaming face.

 

Landscape of Betrayal #7 graphite and watercolour

It has been pointed out that the anaglyph portrait might be seen to represent Big Brother himself, rather than, or as well as Winston Smith. Because of its distortion, the portrait observes the viewer BEFORE its discovery from the designated p.o.v.

 

Landscape of Betrayal #6 graphite and watercolour

 

Landscape of Betrayal #5 graphite and watercolour