Tamsin Gaul is an illustrator and printmaker inspired by self-reflection, human connection, and music. Her process-led practice, which often incorporates unpredictable materials, informs serenely abstract work that sits somewhere between dream and reality.
Could you define the approach or philosophy of your work Tamsin?
I am driven by the massive sense of satisfaction I get when I think I have captured a feeling without using words. I enjoy the challenge of trying to translate intangible things into something visual. What I choose to depict is a way of expressing what I find important and interesting in the world, but kind of quietly. What I also find rewarding about illustration is taking the time to understand others' perspectives and ultimately feeling understood yourself.
Which piece of work or project have you learned the most from and why?
Last year, during a mentorship with illustrator Laurindo Feliciano, I made 6 images for an essay about violence in humans and where it comes from. The text made me consider new perspectives, including what can be considered ‘violence’, and how it appears in our society. The project consolidated a lot of things for me such as the importance of reflecting, researching, and trusting my instincts. Having to cover several aspects of the same topic made me realise that generating ideas really is as important as the process of making.
'What I find rewarding about illustration is taking the time to understand others' perspectives and ultimately feeling understood yourself.'
What are the skills that you think are needed of a good art director and how does this help to improve your work?
It is always helpful to bring an objective set of eyes to your work. You can become blind to how other people might see your image without all of the context and great ideas that you have in your head. A good art director will help you to realise why you aren’t communicating certain ideas as effectively as you could and help you to get there.
How important is research to your work and why does it matter?
When working from other sources such as written works, it is essential to understand the context so that I feel confident in my interpretation of it. Visual research gives me a picture of what has gone before, so I can try to avoid repeating it, whilst maybe nodding to it. Although I make a concerted effort to research at the beginning of a new project, I am researching every day by observing and recording things that are in front of me. I’m very inspired by photographers, particularly the way that they frame things in a way that adds value to the mundane. The act of capturing a scene makes you look further to find something valuable in what you are seeing.
'It is always helpful to bring an objective set of eyes to your work. You can become blind to how other people might see your image without all of the context and great ideas that you have in your head.'
Which illustrator alive or dead do you most admire and why?
The illustrator who has had the single greatest influence on me is Ralph Steadman. When I was 17, I watched a video of him throwing ink at a page and turning it into these energetic drawings of birds. I have been making a deliberate effort since then to incorporate some of this spontaneity into my process. It frees you from expectations and reminds you how fun it is to be surprised by the physicality of materials and instinctive movements.
'[Spontaneity]... frees you from expectations and reminds you how fun it is to be surprised by the physicality of materials and instinctive movements.'
What is one part of your working process that you do well, something you could improve and something you wish you never had to do again?
I give a lot of time to thinking and considering things, which can be a strength and a weakness. I could make my life easier by learning to take a step back and knowing when to leave something be. One thing I prefer not to do is to make something entirely digitally, as it takes away lots of the things I enjoy, such as the textural qualities of art materials.
What is your favorite film poster and what film do you wish you could have done the poster for?
I like the poster for Submarine. It is simple but feels very representative of what was cool to me as a teenager in the 2010s, like an aesthetic time capsule.The use of recurring colour as a visual device is always very satisfying to me and it’s represented well in the poster. It also feels perfectly awkward. It would be fun to illustrate a film with very distinctive character and set design, like Grand Budapest Hotel or any Wes Anderson film. The attention to detail brings the worlds to life and gives a fantastic amount of reference material to draw from.
©2010 Warp Films / Film4
What film do you recommend to others most often and why?
I always recommend the film La Haine by Mathieu Kassovitz. It is devastating but important. Inspired by real-life police violence, the film follows three characters over the course of their day in the rioting suburbs of Paris. It tackles a lot of ugly things like vengeance and prejudice. There is some striking camera work, and the dialogue of the characters is convincing and totally captivating.
©1995 Le Studio Canal+
What object from a film do you wish you could own and why?
The trousers from Wallace and Gromit: The Wrong Trousers. Before they went wrong, obviously. They could be an eco-friendly mode of transport for when I’m feeling lazy.
©1993 Aardman Animations / BBC Bristol
The great film critic Roger Ebert described film as an 'empathy machine' suggesting it is a way for us to connect fully with lives and experiences of others that we will never ourselves live. With this in mind, what film have you watched that has had the greatest impact on you emotionally and tell us why if you can?
Minari. This film did something beautiful in the way it explored family, ageing, love, perseverance and loss. The score for the film is painfully emotive, but in a good way.
©2020 A24 / Plan B Entertainment
Tamsin has written about and illustrated a piece on the film Zazie dans le Métro for the Fun and Games Issue.
