{"id":1553,"date":"2009-01-13T00:01:45","date_gmt":"2009-01-13T06:01:45","guid":{"rendered":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=1553"},"modified":"2009-01-13T16:45:03","modified_gmt":"2009-01-13T22:45:03","slug":"1553","status":"publish","type":"post","link":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=1553","title":{"rendered":"Seven Questions Over Breakfast with
R. Gregory Christie"},"content":{"rendered":"

I can’t even BEGIN to tell you how pleased I am that my first breakfast illustrator interview of ’09 is with artist R. Gregory Christie<\/strong><\/a>. He had me at hello a long time ago with this statement on this page<\/strong><\/a> of his web site: “The disproportionate compositions and elongated figures {of my art} are meant to be a directional device for the viewer, my own natural inclination, and a challenge for the viewer to break away from the established fundamental belief that all children’s books must be realistic or cute<\/em>” {Ed. Note: Emphasis all mine.} Since I’ve always been such a fan — and Eisha, too — I think this is one pretty kickin’ way to bring in the new year here at 7-Imp. Christie, who goes by Greg, is here for some pancakes, eggs, and sausage<\/font>, which is what he says he eats when he’s “eating badly,” but I say his visit calls for a big ‘ol matutinal feast. I’ll gladly provide the pancakes and other dishes, since he decided to come talk to us about his work and share gobs of great images of his energetic art. We’re just all going to indulge<\/em> ourselves here. Deal? Deal. Besides, great art + pancakes? Score. <\/p>\n

<\/p>\n

<\/p>\n

Greg, who studied Fine Arts at New York City\u2019s School of Visual Arts<\/strong><\/a> in the early ’90s, started out by creating art work for the covers of various jazz records, including the two pictured above. After then spending some time creating illustrations for various publications in Europe, Asia, and America, he was offered his first children’s book from Lee & Low publishing, as he discusses a bit below. The Palm of My Heart: Poetry by African American Children<\/a><\/strong><\/em>, edited by Davida Adedjouma, was published in 1996. School Library Journal<\/em> wrote that Greg’s illustrations “could stand alone as a lively introduction to modern art,” and here’s what Kirkus<\/em> had to say:<\/p>\n

“The real story here is the glorious art by picture-book newcomer Christie, who displays a fine-arts sensibility that is incorporated into his illustrations, looking as if the influence of African art has been distilled through Klee and Picasso in the 1920s, with a touch of Jean-Michel Basquiat. Yet Christie’s art remains all his own. Elongated limbs and abstract backgrounds emphasize the skill of his portraiture, drawing viewers to the astoundingly accomplished painting of individual faces. His interpretations of the text elevate its feeble nature and allow every page and double-spread to convey a distinct story, mood, or tribute to the culture.”<\/em><\/p>\n

This, his children’s book debut, won him the American Library Association\u2019s 1997 Coretta Scott King Honor Award for illustration<\/strong><\/a>. <\/p>\n

Since that time, Greg has gone on to receive two more Coretta Scott King Honor Awards — in 2000 for Only Passing Through: The Story of Sojourner Truth<\/strong><\/a><\/em> (published by Alfred A. Knopf), pictured below and which The New York Times<\/em> described as having “the look and feel of a children\u2019s classic,” and again in 2006 for Brothers in Hope: The Story of the Lost boys of Sudan<\/strong><\/a><\/em> (Lee & Low Books). <\/p>\n


\n

From Only Passing Through: The Story of Sojourner Truth<\/em>
by Anne Rockwell<\/strong><\/a> (Alfred A. Knopf; 2000)<\/center><\/p>\n

Greg has continually illustrated books about many historical and cultural figures, many African-Americans, including Richard Wright<\/strong><\/a>, Langston Hughes<\/strong><\/a>, and Muhammad Ali<\/strong><\/a>, to name just a few.<\/p>\n


\n

A Song for Langston<\/em><\/center><\/p>\n


\n

Clay vs. Liston<\/em><\/center><\/p>\n


\n

Everlast<\/em><\/center><\/p>\n

He also regularly contributes to The New Yorker<\/em> and continues to create fine art, illustration, and art for album covers and other media. It’s because of art work like this that I am a fan and thrilled that he stopped by: <\/p>\n


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Wonders of the Mind 1<\/em><\/center><\/p>\n


\n

From Hot City<\/strong><\/a><\/em> by Barbara Joosse<\/strong><\/a> (Philomel Books; 2004)<\/center><\/p>\n


\n

Cover art for Traci L. Jones’<\/strong><\/a> Young Adult title,
Standing Against the Wind<\/strong><\/em><\/a> (Farrar, Straus and Giroux; 2006)<\/center><\/p>\n

…and oh-so many more. <\/p>\n

Greg’s latest title is When Louis Armstrong Taught Me Scat<\/em><\/strong><\/a> by Muriel Harris Weinstein, to be released next month by Chronicle Books. I haven’t seen it yet. Am curious to. But I can at the very least show you the cover. <\/p>\n

<\/p>\n

Greg also serves as a resident illustrator<\/strong><\/a> of sorts for Sweet Blackberry<\/strong><\/a>, who create stories of African-American achievement across a multi-media platform. Back in December of ’07, Greg stopped by 7-Imp one Sunday<\/strong><\/a> to preview some of the art work he did for the animated Garrett’s Gift<\/em>, written by Karyn Parsons, which went on to receive the Learning Magazine<\/em> 2009 Teachers\u2019 Choice Award. On that Sunday in December, he also shared some of his sketches from When Louis Armstrong Taught Me Scat<\/em>, so head on over there<\/strong><\/a>, if you’re so inclined, to see even more of his art. <\/p>\n

I also, as a former sign language interpreter, love his art work in Pete Seeger and Paul Dubois Jacobs’ Schneider Family Book Award-winning<\/a><\/strong> The Deaf Musicians<\/strong><\/a><\/em>, but I’ve said enough already and could probably go on about his art for a long time. I covered The Deaf Musicians<\/em> anyway here<\/a><\/strong> in 7-Imp Land in ’06. <\/p>\n

<\/p>\n

So, let’s get to those pancakes. We’ll get the basics from Greg while we set the table, and I thank him kindly for stopping by, especially since I find it fascinating his road to publication, the DJ record-spinnin’ live painting in night clubs, for one, not to mention the very intuitive and dynamic approach he takes to his work. Let’s get to it then… <\/p>\n

* * * * * * *<\/font><\/center><\/p>\n

7-Imp<\/font><\/strong>: Are you an illustrator or author\/illustrator?<\/font><\/p>\n

Greg<\/font><\/strong>: Illustrator.<\/p>\n

7-Imp<\/font><\/strong>: Can you list your books-to-date?<\/font><\/p>\n

Greg<\/font><\/strong>: {Ed. Note: Greg sent me a .pdf file of his titles, ’cause he’s thorough like that. Readers can visit this page<\/strong><\/a> of his site. There. That’ll do.}<\/em> <\/p>\n

7-Imp<\/font><\/strong>: What is your usual medium, or -\u2013 if you use a variety -\u2013 your preferred one?<\/font> <\/p>\n

Greg<\/font><\/strong>: Acrylic. <\/p>\n

7-Imp<\/font><\/strong>: If you have illustrated for various age ranges (such as, both picture books and early reader books OR, say, picture books and chapter books), can you briefly discuss the differences, if any, in illustrating for one age group to another?<\/font><\/p>\n

\"Father's<\/p>\n

Greg<\/font><\/strong>: When I painted my first picture book (The Palm of My Heart<\/strong><\/a><\/em>, Ruler of the Courtyard<\/strong><\/a><\/em>, almost anything before 2004), there was no difference at all, but later on I decided on more approachable images for younger children\u2019s books. I do this with color and form but keep myself challenged by abstracting each figure\u2019s proportion. In chapter books for older readers, I tend to use darker earth colors and make images that can easily be hung in any contemporary art show and hold its own. {Ed. Note: Pictured here is an illustration from<\/em> Palm of My Heart.}<\/em><\/p>\n

7-Imp<\/font><\/strong>: Where are your stompin\u2019 grounds?<\/font> <\/p>\n

Greg<\/font><\/strong>: Brooklyn, New York, officially. A gypsy, otherwise.<\/p>\n

7-Imp<\/font><\/strong>: Can you briefly tell us about your road to publication?<\/font> <\/p>\n

Greg<\/font><\/strong>: I started painting in night clubs. DJs would spin records, and I would show slides or do a live painting in front of a crowd. Sounds crazy, I know, but coming from a small town in NJ and having no network in NY, it was an idea that turned into an opportunity. Before I was thirty, I ended up being sponsored for night-life paintings in Malaysia, England, Sweden, New York, and Holland. When I first started in ’94, I was noticed by an unsigned band during one of my nights out (Justice System) and was asked to do their album cover whenever they did get signed. MCA records eventually signed them; the image was completed and later caught the eye of an editor named Liz Szabla when she worked at Lee & Low books. I\u2019m forever grateful to her and the company for the opportunity, which later resulted in a Coretta Scott King Honor. Since that first book, librarians have been looking out for my titles and reviewing them, and my fan base is growing amongst teachers, librarians, and the general public. <\/p>\n


\n<\/p>\n

A “live painting” in Sweden<\/center><\/p>\n

7-Imp<\/font><\/strong>: Can you please point us to your web site and\/or blog?<\/font><\/p>\n

Greg<\/font><\/strong>: www.gas-art.com<\/strong><\/a> (\u201cgas,\u201d the acronym for \u201cgregarious art statements”).<\/p>\n

7-Imp<\/font><\/strong>: If you do school visits, tell us what they\u2019re like.<\/font><\/p>\n

Greg<\/font><\/strong>: Yes, I absolutely do school visits and have loads of fun doing them. They are like a Jazz improvisation. I go with the flow of whatever energy I feel from the crowd of students. I bring out main points, such as: art is communication, the aspects involved in the book-making process, and my biographical information. After this, I have an informal conversation about whatever they\u2019d like to speak about; I consider it a time to listen to them, as I honestly and responsibly answer their questions. It\u2019s a very open interaction at this point, and overall it\u2019s a lecture style I use from kindergarten to a group of college professors. <\/p>\n


\n<\/p>\n

Teaching an after-school workshop<\/center><\/p>\n

7-Imp<\/font><\/strong>: Any new titles\/projects you might be working on now that you can tell us about?<\/font> <\/p>\n

Greg<\/font><\/strong>: Bad News for Outlaws<\/em>, the story of Bass Reeves, by Vaunda Micheaux Nelson<\/strong><\/a>, Roots and Blues<\/em> by Arnold Adoff<\/strong><\/a>, Black Magic<\/em> by Dianne Johnson<\/strong><\/a>, Pettina and the Wind-Rope<\/em> by Erica Silverman<\/strong><\/a> — quite a few. Some deal with historical figures, and others are fantastical and abstract. Each one has its distinct demeanor, and I get into each separate mindset to create something beautiful and interesting. <\/p>\n

Bad News<\/em> is about the Indian Territory before it officially became Oklahoma; Black Magic<\/em> is a beautiful poem about a little girl with a wonderful imagination about the color black; Roots and Blues<\/em> is an abstract, but very moving, flow of words about the Southern experience (it will be a chapter book format but is unique from anything I have ever done before). Pettina and the Wind-Rope<\/em> is a picture book about a brash tomboy sailor girl that has a talking dog. Also, I have a book collaboration with Nikki Grimes {pictured here}… All this work is on the painting assembly line, and all will be given my best effort. <\/p>\n

<\/p>\n

Cover art for Bad News for Outlaws: The Remarkable Life of Bass Reeves, Deputy U.S. Marshall,<\/em> to be published by Carolrhoda Books this year<\/center><\/p>\n

<\/p>\n

From Black Magic<\/em>, forthcoming from Henry Holt<\/center><\/p>\n


\n

From Pettina and the Wind-Rope,<\/em> to be published this year by
Farrar, Straus and Giroux<\/center><\/p>\n


\n<\/p>\n

Sketches from Roots and Blues<\/em><\/center><\/p>\n

\"Mmm.Okay, the table’s set for our seven questions over breakfast. Have coffee. Can chat. Now we’re ready to talk more specifics…<\/font> <\/p>\n

1.<\/font> 7-Imp<\/font><\/strong>: What exactly is your process when you are illustrating a book? You can start wherever you\u2019d like when answering: getting initial ideas, starting to illustrate, or even what it\u2019s like under deadline, etc. Do you outline a great deal of the book before you illustrate or just let your muse lead you on and see where you end up?<\/font> <\/p>\n

Greg<\/font><\/strong>: I do not like to analyze a book too much in my mind, so my sketches are very loose, and most people commissioning me have to trust my instincts and talent. I do practice the formal protocol of breaking down the manuscript into spreads, sketching ideas, and brainstorming with my editor, but during the process of painting, I love to keep things fresh and spontaneous. So much so that I sleep {only} because I absolutely have to and wake up with an excitement to get back to that art table. My best books are done when I just get into a hermit state. No phone calls, a beard starts to grow, I get food delivered, and I just let things go (this is why I\u2019ve had interns and assistants in the past). I turn on a radio, listen to the BBC, have an internet connection for immediate online references, I\u2019m up and down to switch my paint refuse for clean water, and I work on a slant (never flat). These are the simple things needed when painting; it\u2019s not too complicated. So subsequently, I often find myself painting in strange places: hotel rooms, in people\u2019s kitchens, and even in a park at times. It\u2019s always funny to me that I need noise when I paint but like silence when I write. <\/p>\n


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Study for Rock of Ages: A Tribute to the Black Church<\/em>
by Tonya Bolden (Alfred A. Knopf; 2001)<\/center><\/p>\n

2.<\/font> 7-Imp<\/font><\/strong>: Describe your studio or usual work space for us.<\/font> <\/p>\n

Greg<\/font><\/strong>: A cozy but open space with a light for mood and a light source for my color mixes and support. I have a small radio or an internet connection for music, news, or technical reference. That\u2019s it. This means my studio could be a bungalow in idyllic Thailand, a posh London nightclub, a tawdry hotel in a bad neighborhood, or a movie director\u2019s duplex. I\u2019ve worked in all of these and have had my best results with the variety of it all. <\/p>\n


\n<\/p>\n

Greg in Sweden in 2004<\/center><\/p>\n

3.<\/font> 7-Imp<\/font><\/strong>: As book lovers, it interests us: What books or authors and\/or illustrators influenced you as an early reader?<\/font> <\/p>\n

Greg<\/font><\/strong>: Ezra Jack Keats<\/strong><\/a>, Jerry Pinkney, all the Little Golden Books I could get my eyes on, superhero books, comics, heavy metal, Conan, Sgt. Rock, and anything about how to paint or draw. <\/p>\n

4.<\/font> 7-Imp<\/font><\/strong>: If you could have three (living) illustrators—whom you have not yet met—over for coffee or a glass of rich, red wine, whom would you choose?<\/p>\n

{Ed. Note: Pictured here is one of Greg’s personal pieces of New Orleans jazz trumpet player Bunk Johnson.}<\/em><\/font><\/p>\n

Greg<\/font><\/strong>: David Macaulay<\/strong><\/a>, Jennifer Aniston, Kelly Rowland (when she writes her book)…I know this is cheating, but fortunately I\u2019ve met many of my favorite authors and illustrators — if not a handshake, then as acquaintances that have grown into supportive friends. I often take a peek at what\u2019s on the shelves and see so many interesting approaches to the art work in books, but for the most part in this type of case, I unfortunately remember the art over specific names. <\/p>\n


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Billie Holiday,<\/em> 1997; Visit this page<\/strong><\/a> of Greg’s site for more of his original art.<\/em><\/center><\/p>\n

<\/p>\n

5.<\/font> 7-Imp<\/font><\/strong>: What is currently in rotation on your iPod or loaded in your CD player? Do you listen to music while you create books?<\/font><\/p>\n

Greg<\/font><\/strong>: No, not music. Mainly news (BBC, NPR), but I have such eclectic tastes and tend to like obscure {music} or music from the past. Ueh<\/strong>, Basia<\/strong><\/a>, Radiohead<\/strong><\/a>, Stereolab<\/strong><\/a>, Don Drummond<\/strong><\/a>, Fela Kuti<\/strong><\/a>, Emilio Santiago<\/strong><\/a>, Kraftwerk<\/strong><\/a>, Count Basie<\/strong><\/a>, D Sound<\/strong><\/a>, Roy Ayers<\/strong><\/a>, Gigi<\/strong><\/a>, Jean Sibelius<\/strong><\/a>, Gabriel Faur\u00e9<\/strong><\/a>, on and on and on — along with the stuff I\u2019m embarrassed about but still sneak a listen to when no one\u2019s looking. <\/p>\n


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Pictured above: Greg at work in Sweden in ’04 and his illustrations from The Champ: The Story of Muhammad Ali<\/em> by Tonya Bolden (Knopf Books for Young Readers; 2004), hanging in his studio in Sweden<\/center><\/p>\n

6.<\/font> 7-Imp<\/font><\/strong>: What’s one thing that most people don’t know about you?<\/font> <\/p>\n

Greg<\/font><\/strong>: I have the ability and drive to learn how to render a classical academic painting as well as David or Ingres but chose to do what excites my own visual sensibilities. <\/p>\n


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As Beautiful as April<\/em><\/center><\/p>\n

7.<\/font> 7-Imp<\/font><\/strong>: Is there something you wish interviewers would ask you — but never do? Feel free to ask and respond here.<\/font><\/p>\n

Greg<\/font><\/strong>: Just a statement… <\/p>\n

Nothing worth having comes all that easily. An artist\u2019s life isn\u2019t easy, due to internal and external obstacles. As for myself, I\u2019ve come a long way from a weird and shy child in a small colonial town who liked to copy comics into a multi-award winning children\u2019s book illustrator. These days, I definitely need help promoting these books over Xboxes and iPhones. I worry about the future generation setting the foundation for a society that completely relies on electronic technology over tangible published information, because in these times it\u2019s better to have a hold on a truth rather than to have it spoon-fed to you. I suppose that anyone on this wonderful site knows this, and I\u2019m preaching to the choir, but I\u2019m here as a tool to reach the young people in our society. Please consider or recommend me for a school visit. <\/p>\n


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\n
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Three pieces of Greg’s personal art, the last one, Evelyn<\/em>, an oil painting<\/em><\/center><\/p>\n

* * * The Pivot Questionnaire * * *<\/font><\/center><\/p>\n

7-Imp<\/font><\/strong>: What is your favorite word?<\/font><\/p>\n

Greg<\/font><\/strong>: “Indignant.”<\/p>\n

7-Imp<\/font><\/strong>: What is your least favorite word?<\/font><\/p>\n

Greg<\/font><\/strong>: “What?”<\/p>\n

7-Imp<\/font><\/strong>: What turns you on creatively, spiritually or emotionally?<\/font> <\/p>\n

Greg<\/font><\/strong>: Change.<\/p>\n

7-Imp<\/font><\/strong>: What turns you off?<\/font><\/p>\n

Greg<\/font><\/strong>: Monotony.<\/p>\n

7-Imp<\/font><\/strong>: What is your favorite curse word? (optional)<\/font><\/p>\n

Greg<\/font><\/strong>: Ask me when you meet me, but if you can\u2019t handle it, then don\u2019t ask it.<\/p>\n

7-Imp<\/font><\/strong>: What sound or noise do you love?<\/font><\/p>\n

Greg<\/font><\/strong>: Under most circumstances, a woman’s voice.<\/p>\n

7-Imp<\/font><\/strong>: What sound or noise do you hate?<\/font> <\/p>\n

Greg<\/font><\/strong>: Unexpected knock on the other side of a door.<\/p>\n

7-Imp<\/font><\/strong>: What profession other than your own would you like to attempt?<\/font><\/p>\n

Greg<\/font><\/strong>: Anthropologist. Chef.<\/p>\n

7-Imp<\/font><\/strong>: What profession would you not like to do?<\/font><\/p>\n

Greg<\/font><\/strong>: War-time soldier.<\/p>\n

7-Imp<\/font><\/strong>: If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?<\/font><\/p>\n

Greg<\/font><\/strong>: “There is no such thing as time here, but you will become everything and everything will become you so that all missed opportunities and unanswered questions will be fulfilled.”<\/p>\n

* * * * * * *<\/center><\/p>\n

All photos and art courtesy of R. Gregory Christie. All rights reserved and all that good stuff.<\/p>\n","protected":false},"excerpt":{"rendered":"

I can’t even BEGIN to tell you how pleased I am that my first breakfast illustrator interview of ’09 is with artist R. Gregory Christie. He had me at hello a long time ago with this statement on this page of his web site: “The disproportionate compositions and elongated figures {of my art} are meant […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,2],"tags":[],"class_list":["post-1553","post","type-post","status-publish","format-standard","hentry","category-blogger-interviews","category-picture-books"],"_links":{"self":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/posts\/1553","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1553"}],"version-history":[{"count":0,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=\/wp\/v2\/posts\/1553\/revisions"}],"wp:attachment":[{"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1553"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1553"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blaine.org\/sevenimpossiblethings\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1553"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}