2024
A mysterious rider leans forward on a horse seemingly formed of living shadow, their posture speaking of urgency and a mission that cannot wait. Hair streams behind them, merging with the horse’s mane like a mesmerizing Rorschach test in motion, challenging us to decipher where intention ends and instinct begins. This breathtaking scene unfolds against a backdrop of lurid red – perhaps velvet curtains, a blood-tinged sunset, or the very gates of hell yawning open.
Conjured forth by contemporary artist Tristan Elwell in the cover art for Ashling by Isobelle Carmody, it encapsulates the spirit of high fantasy with an undercurrent of delicious menace. It speaks of quests undertaken in realms where the natural and supernatural coexist, evoking a world where untamed spirits race against looming shadows.
Fantastical, brooding imagery leaps from the covers of countless tomes, beckoning readers into realms of fantasy, young adult adventures, and thought-provoking editorials. Elwell’s darkly whimsical visions serve as portals, each image a visual distillation of complex narratives into single, compelling moments frozen in time. His art is like a tarot deck for the modern age, each image a card that tells a story of possible futures and hidden truths.
Beyond book covers, this artistic vision spills onto Magic: The Gathering cards; whether you’re cycling with Merfolk Looter or summoning a horde with Elvish Piper, Elwell’s contributions to this beloved bastion of nerdery transforms players’ hands into galleries of miniature masterpieces amidst their fantastical battles.
In this evocative scene featured in my book The Art of Fantasy: A Visual Sourcebook Of All That Is Unreal, we spy a levitating witch-like character slyly peeking over her shoulder to catch us in the act of observing her. Her wild grey hair billows in an unseen ethereal current, adding to her mystical allure. Below, a cat cleverly bats at an unseen ‘mouse,’ while a circle of arcane symbols swirls on the floor. An incongruous on/off button in the foreground adds a surprising modern touch to this magical scene. The image is bathed in the warm glow of a trio of pillar candles held aloft by wrought iron stands, illuminating this instance of the arcane and the contemporary.
A visual paradox where ancient sorcery and modern technology coexist in a single, mesmerizing moment, it’s an intriguing fusion that invites viewers to ponder the intersection of mystical arts and technological advancement, each complex in its own right. The image bears a whimsical resemblance to a somewhat archaic ad for witchy helpdesk support in PC Plus magazine, but it’s the captivating illustration adorning the cover of Curses, Inc. and Other Stories by Vivian Vande Velde.
Midnight in a graveyard, a sleek black cat paces at a crossroads, its presence both ominous and intriguing. Headstones thrust up from shaggy, unkempt grass, casting long shadows across the scene. The dampness of overgrown blades is almost palpable, their imagined rustle carried on a chill breeze. This haunting imagery for Witch Way to Murder by Shirley Damsgaard weaves a visual story of mystery and magic that entices the viewer to peer deeper into its shadows. I am totally judging a book by its cover here, but you can count me among the viewers enticed to peek! (I’m looking for a copy at the library as we speak!)
A domestic longhair cat, resplendent in a business suit, regards us with an expression of cunning professionalism. Its eyes glint with intelligence and a hint of mischief, suggesting playful yet potentially nefarious schemes. This clever and cute image, with its undercurrent of menacing shenanigans, graces the cover of John Scalzi’s Starter Villain and becomes a charming yet unsettling visual ambassador for Scalzi’s satirical exploration of corporate ethics and modern villainy.
The brilliance of this cover becomes even more apparent when considered alongside the book’s premise (which unlike a few above, I have actually read!) In Starter Villain, Charlie, a recently divorced substitute teacher, inherits his estranged uncle’s unconventional business: supervillainy. Thrust into a world of lasers, talking cats, and unionized dolphins, Charlie embarks on a journey of self-discovery amidst the absurdity, where humor and intrigue simmer –dangerously, delightfully!–beneath the surface of a dormant volcano in a remote island lair. Elwell’s suited cat perfectly serves as an ideal visual ambassador for Scalzi’s satirical exploration of corporate ethics and modern villainy.
Personal works reveal a deep appreciation for the gothic and dramatic. In “Isolation,” a striking figure perches high on a wire, defying gravity and convention. Adorned in a long black Victorian-style frock, complete with lace collar and cameo, the figure’s playful space buns add a touch of youthful spirit to the somber attire. An umbrella clutched in hand leaves us wondering: is it to ward off sun or rain? Four crows share the wire, a fifth ascending to join this curious gathering, regarding their human companion with interest but without malice, as if recognizing a kindred spirit in this darkly clad figure who has ventured into their domain.
“Inversion,” which just yesterday won First Place for Digital Art in the Beautiful Bizarre Magazine Art Prize (many sincere congratulations, Tristan!!) mirrors this scene but diverges dramatically. A nude woman hangs upside down from a wire, her body a study in grace and control. The tension in her form evokes a ballet dancer practicing passé relevés variations, every muscle defined, every line carefully considered. She shares her precarious perch with a quartet of bats, their expressions a mixture of fascination and bewilderment at this topsy-turvy human interloper. Behind them, the sky transitions to evening, wisps of clouds texturing the horizon as a distant flock of bats passes by.
These two pieces form a captivating diptych: from gothic Victorian aesthetic to an almost balletic nude, recurring motifs of solitary figures, wire perches, and avian companions create thematic links that invite contemplation on isolation, inversion, and the strange companions we find in lonely places. These works are like visual kōans, paradoxical vignettes that invite meditation on the nature of solitude and perspective.
Instagram sketches reveal a gallery of iconic figures: Elsa Lanchester’s Bride of Frankenstein, sultry silent film star Theda Bara, the hauntingly beautiful Peter Steele, and delightfully macabre Lily Munster. The artistic gaze extends beyond pure gothic to embrace a wider range of dramatic personalities: Nick Cave broods alongside Tom Waits, while the surreal world of David Lynch’s Eraserhead neighbors a classically melodramatic depiction of Salome offering John the Baptist’s head. His Instagram becomes a cabinet of curiosities, each sketch a specimen of pop culture preserved in the formaldehyde of Elwell’s distinctive style.
A particularly striking image captures an Edwardian lady in fencing attire, a red heart embroidered on her dress breast. It’s a masterful blend of historical aesthetics and symbolic elements, both beautiful and poignant.
While Elwell’s work has graced an impressive array of book covers spanning YA fantasy to cozy mystery and beyond, one can’t help but imagine the striking impact his art could have on gothic romance novels. Picture a cover where a graceful figure in a meticulously rendered Regency gown stands before a fog-shrouded manor, her hair tousled by an unseen wind. A sleek black cat winds around her ankles, its eyes gleaming with otherworldly intelligence, while a colony of bats silently wheels against the brooding sky.
Another scene might capture a moonlit balcony: a corseted Victorian beauty leans precariously over the railing, her lace-gloved hand outstretched toward a shadowy figure astride a powerful, dark horse in the garden below. The intricate detailing of her dress would be a testament to Elwell’s keen eye, while the play of light and shadow could hint at the passion and danger lurking within the pages. Or envision a windswept moor at twilight, where a lone rider on a ghostly pale horse gallops past ancient standing stones. In the foreground, crimson roses entwine with thorny vines, their blooms stark against the misty landscape.
Such covers would perfectly capture the genre’s signature blend of desire and dread, all while showcasing the motifs that make Elwell’s work so distinctively captivating. Elwell’s hypothetical gothic romance covers would be like Victorian valentines dipped in the blood of midnight ink – ornate, passionate, with just a touch of sly diablerie.
And finally, here is a Halloween cow. A bovine celebration of the most wonderful time of the year! Because beyond the artist’s keen eye for detail and all their technical wizardry and all those years of honing and refining their skills, we know the thing that truly counts is recognizing that animal + Halloween costume = pure, unadulterated gold. I’m not even joking. It is true! (You have no idea how much I love this cow!)
But seriously folks! Elwell’s portfolio is a cocktail of the macabre, the whimsical, and fantastical, shaken vigorously and served with a twist of sardonic wit. These works, from fully realized paintings to quick sketches, reveal an artist with an uncanny ability to capture the essence of his subjects, and his images act as windows to realms where magic, mystery, and wonder are tangible, ever-present forces. Infused with a dreamy darkness and a subtle but distinctive thread of mordant humor, these works captivate and inspire. They invite us to imagine worlds where a midnight ride on a shadow steed is possible, where a feline might stand guard at a haunted crossroads, or where a talking cat in a business suit could be plotting world domination.
Speaking of how these works captivate and inspire, it was that very cat at that very crossroads that caught my eye back in 2010 when it was rampantly reblogged all over Tumblr sans credit or context. Searching out the artist responsible for it was how I first discovered Tristan’s body of work, which I have been following ever since. It feels like a very full-circle moment to have been able to include Tristan’s work in my book. What a weird, wild, wonderful world! And how glad I am to share it with artists like Tristan Elwell.
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