Tag Archives: visual art

Visual Art and an Accompanying Original Sonnet

I decided to expand upon the idea of Time in the Sonnets in the form of visual art and a sonnet I wrote. The sonnet was definitely challenging to write, I definitely have more respect for Shakespeare’s work now in regards to his poetry skills. Having the iambic pentameter stay consistent throughout the lines was not easy.

In the Sonnets, Shakespeare speaks of personified Time. I really liked this idea so I decided to do something similar but use imagery seen in my visual art. In the picture, I wanted the puppet master’s hand to symbolize Time and its control over people who are constrained by this entity, as well as how Time “feeds” people through an hourglass slowly but surely until their eventual demise which I tried to show through the figure becoming bloody sand at the tiny opening. This opening, if you will, is sort of like the transition point between the upper and lower hourglass chambers and similarly, can be compared to Death who is the facilitator of the transition from this world to the next. I know Death isn’t emphasized in my visual art, but I wanted to keep the focus on Time and its “slave”.

In my sonnet, I wanted to emphasize the grandeur of Time and how it can be portrayed as cruel and merciless, which is why the hand is referred to as dark. However, I wanted the volta of the sonnet to show how Time alone cannot be blamed, since Death is the one who ultimately wins by letting Time do all the work up until the last few moments of a person’s life.

I know, lots of ideas compacted into these two representations. I was sitting on this idea for a while but had to experiment a lot.

Thanks for reading!


Slaves to Time

A constant, everlasting dimension

Thou art an unequalled phenomenon

O Time! Wherefore a cruel postulation

Art thou that pulls puppet strings as slaves age on?

The suff’ring slaves of you, sent straight down through

A most inescapable hourglass.

The wise once innocent, the old once new

Nothing is free once your clutches are cast.

Have you no mercy in your puppetry?

Poor souls doth twist and turn by your dark hand

Little grace is shown in your artistry

Tick tock, tick tock, no rest for slipping sand.

But even you are enslaved to fair Death

Who uses you to collect their last breaths.


Fathima) Sadiya Nazir (10138034)



Visual Art: Troilus, the Brave

This visual art is symbolic of how Troilus finds himself to be torn in act one; he is expected to maintain his strong and stable composure as a soldier, but on the inside, his desperate love for Cressida tears him apart.
This visual art is symbolic of how Troilus finds himself to be torn in act one; he is expected to maintain his strong and stable composure as a soldier, but on the inside, his desperate love for Cressida tears him apart.

The image of Troilus on the left is symbolic of the archetypical soldier that he is expected to be. The armour symbolizes strength, order, conformity, and illusion. The image of Troilus on the right, dressed in darker clothing to symbolize his woe, depicts the way he really feels while he is forced to wage war instead of profess his love to Cressida. His lack of armour represents the vulnerability that is a natural product of such intense emotions.

Visual Art: Cressida Fair

This visual art represents the idealistic way that Troilus thinks of Cressida before he learns of her infidelity. He worships her fair complexion, her cheeks, her lips, her face... He dreams only of her, and sees not her flaws.
This visual art represents the idealistic way that Troilus thinks of Cressida before he learns of her infidelity. He worships her fair complexion, her cheeks, her lips, her face… He dreams only of her, and sees not her flaws.

I chose to draw Cressida in a cloud to represent the way that she falls short of Troilus’ daydreams in real life. She is only so fair and pure to him since love is clouding his vision.

On the Depiction of Time

Good day everyone!

Last week Tuesday in class we briefly talked about act 4, scene 1 in The Winter’s Tale in relation to choruses and their roles in the various plays. I soon inspired me to put down on paper what I thought Time would (or maybe should) look like in that one scene.

And this is what I came up with:
The Chorus of Time

Looking back at act 4 scene 1 we know that Time has wings: “Now take upon me, in the name of Time, / To use my wings.” (3-4)
Even though Time is the only character on stage, we do actually know the gender of Time. In the last set of lines in the scene, Time says: “If never, yet that Time himself doth say / He wishes earnestly you never may.” (31-32)

However up until that last little part I had first imagined Time as female!

Doing some more digging I found some more details on Time. Our edition of The Winter’s Tale has some nice info on pages 76-83 specifically on this topic, which also include some nice visual depictions of Time as well. It seems that Time was conventionally portrayed as a bearded old man, well, most of the time .(Haha!) Our text describes of one production in 1999, directed by Declan Donnellan, in which, it seems for the first, ahem, time, instead of a elderly bearded man, Time was, to everyone’s surprise, a youthful and attractive woman! So I was not alone!

I mean it only makes sense that Time would be young right? Since Time as a person is the personification of time, he/she should not be affected by time. Anyways…

Our text also mentions that Time carried an hourglass, as is reflected in the lines: ” Your patience this allowing, / I turn my glass, / and give my scene such growing / As you had slept between. ” (15-17) Another source I found stated that sometimes Time had a mirror instead. So in this case “glass” could be represented by either, but it seems the hourglass was more common so I went with that.

For my own personal touches, I thought that since I made her look pretty angelic, and since she is Time, I drew her halo in likeness to a clock. It turned out a lot less cheesy than I thought it would, I think.

And that’s pretty much it! Thanks for reading this far! One last thing, if you were a director, how would you portray Time? Old man? Young blonde? Something entirely different? Let me know in the comments!

-Ishmael Gowralli

The other source I found:
Rundus, Raymond J. “Time and His ‘Glass’ in The Winter’s Tale.” Shakespeare Quarterly 25.1 (1974): 123-125.

King Lear Movie Poster Concept

Hello all!

Following what Theresa has said in a previous post, I’ve decided to make an effort to create and post up more art and images as much as I can. The movie poster idea has been in my mind for a while, but before I go any further I present to you my movie poster concept for King Lear:


And yes, that is Andrew modeling as King Lear.
I must say that I had more fun than I thought I would making this poster. Initially I had ideas that were maybe a bit too complicated.
Like this one:


I still think it would have been cool to do something like this…but oh well.

We took a couple different shots. They were all pretty good, and I had a hard time choosing one to use for the poster. Here are some of them:

king lear 2 resized  king lear 3 resized

king lear 4 resized

And before this post gets too long I think I’ll end here with some credits.
Model: Andrew Lane (as King Lear)
Photography, Costume, and Photo-editing: Ishmael Gowralli

Hope you all enjoyed this and feel free to comment!
-Ishmael Gowralli

Disclaimer: I Am Not An Artist

I am not an artist. I can’t stress that enough, and when I was looking over the things to do for badges, creating a work of visual art didn’t strike me as something I could do well, but then today I was thinking about it and wondered about the visual of Lear’s crown, how I might go about making a visual work out of it. And I did. In my own unpracticed, unskilled hand.

King Lear

When I was working on this, I had this quote of Shakespeare in my head: “Uneasy lies the head that wears the crown” (Henry IV, II, III). The crown had to be gold to represent the wealth of Lear as a king, but also it is a heavy metal, and his crown, his being king, is a heavy burden that cost him.

I made leaves and little flowers on the crown, symbolic of Lear’s crown of weeds and flowers towards the end of the play. The flowers have three petals, symbolic of the three daughters, and the red jewel stands for the bloodshed caused by the division and union of the sisters. At the centre of the crown is a black and red space where a different jewel would be but has been removed – this colour represents the darkness and death brought by Lear’s disowning of Cordelia, and to the left you can see the jewel.

I decided on a pearl for the jewel because of the line in Act IV that compares Cordelia’s tears to pearls – “as pearls from diamonds dropped”. Pearls are beautiful (as Cordelia is frequently called) and are extremely rare – I think there is something to be said about one third of Lear’s daughters being good and loyal. The pearl is crushed and there is blood around it to symbolize Cordelia’s end. On either side of the space of the removed pearl are two red jewels to symbolize Regan and Goneril, and also there is a pattern of two blue dots – there is clearly a space for one in the middle, and I decided not to fill one in to represent the loss of Cordelia from the family.

The broken pearl is in the shadow of Lear’s crown, symbolizing the darkness in the play that is spurred by her disownment. As well, the shadow under Lear’s crown is several different colours to represent the madness of Lear, as there is no clear path for him, shown by how there is no one clear colour.