“It’s been a long time since I ran across a picture book with as long and lengthy a list of materials used in the illustrations as I have here. On the publication page it reads, “The illustrations for this book are rendered in watercolor, paper collage, cotton fabric, cotton, yarn, gouache, pencil, tea, and tin foil. Cotton hand spun on an Indian book charkha by Eileen Hallman.” Phew!
You might think that all that “stuff” might yield something clogged up or messy, but that would be doing Mr. Turk a disservice. Observing how well he gives his pictures depth and texture, life and vitality, you might be shocked to learn that Grandfather Gandhi is his first picture book. From the spinning wheel endpapers to montages of sheer explosive anger, Turk makes a point of not only adhering to some of the more metaphorical aspects of the text, but finding new and creative ways to bring them to visual life.
To my mind, the materials an artist uses in his or her art must, in the case of mixed media, have a reason for their existence. If you’re going to use “cotton fabric, cotton” and “yarn” then there should be a reason. But Turk clearly did his homework prior to doing the art on this book. He doesn’t just slap the images together. He incorporates the fibers Gandhi knew so well and turns them into an essential aspect of the book’s art. The art doesn’t just support the text here. It weaves itself into the story, becoming impossible to separate from the story.
It’s Arun’s anger that proved to be the most visually interesting aspect, to me, in the book. Turk deftly contrasts the calm white thread produced by Gandhi’s spinning with the tangled black ones that surround and engulf his grandson whenever his feelings threaten to break free. The scene where he’s tempted to throw a rock at the boy who shoved him down is filled with thread, Arun’s magnificently clenched teeth, and black shadow figures that reach out across the field to the soccer net, dwarfing the three other little figures below.
Later you can see the negative space found in cut paper turning from a representation of lightning into a thread of cotton in the hands of Gandhi illuminating a passage about making your anger useful. Yet Turk doesn’t just rely on clever techniques. He’s remarkably skilled at faces too. Arun’s expressions when he gets to see his grandfather alone or makes him proud are just filled with wide-eyed eager hope. And his frustrations and anger pulse off the page from his features alone.”