Murray Kimber

Illustrations by Murray Kimber

These images may seem familiar. Murray has been commissioned by many magazines and corporations to provide original images for their publications and billboards.

Cold War Fantasy Oil on Canvas 14 x 18 inches

Wind Power Oil on Canvas 16 x 22 inches

Couple Series - Apples and Oranges Watercolour on Paper 19 x 19 inches	Couple Series II Watercolour on Paper 19 x 19 inches

Riding to Success Oil on Canvas 16 x 22 inches

Hoisting the Sail Oil on Canvas 22 x 18 inches	Oil on Canvas 22 x 17 inches

Oil on Canvas 13 x 17 inches

The Highwayman
Illustrations from Murray Kimber's striking new interpretation of Alfred Noyes' classic poem, The Highwayman. Kimber breathes new life into one of the 20th Century's most popular narrative poems, restaging it as a cops and robbers story in Art Deco New York City. Drawing influence from various pop culture sources, his rich, monochromatic illustrations strip away the pastoral romanticism of the original story and replace it with retro-hip edginess that resonates with an audience more familiar with film and television imagery.
The exhibition will feature 21 original illustrations.

He road under a jewelled sky. SOLD Mixed Media on Paper 24.25 x 28.75 inches

The Highwayman Short-listed October 17th 2005 for 2005 Governor General's Literary Award.

Murray Kimber, a Nelson, B.C. based illustrator, was nominated for a 2005 Governor General's Literary Award in the category of Children's Illustration (English Language) for his interpretation of Alfred Noyes' classic poem The Highwayman. This is his third nomination. Kimber's first illustrated book, Josepha- A Prairie Boy's Story won the prestigious Governor General's award in 1994. His third book The Wolf of Gubbio was also short-listed.
In his interpretation Kimber tells an updated version of the story of a highway robber whose love for the local innkeeper's daughter and pursuit by the army of England's King George eventually collide in a tragic end for the young thief. "It's a classic story in the sense the highwayman is the antihero, on the wrong side of the law and in love with the daughter of a member of the business establishment," says Kimber. "He tries to live on both sides of the law, but it's a doomed combination. Jealously and deceit combine to sell him out, resulting in his downfall."
Readers familiar with the poem will no doubt be struck by Kimber's unique version. "It's a tale of high drama, but from the start I had trouble seeing it in the original setting, rural England in the mid 1700's. I felt young readers might not connect with that era as well as with something more contemporary." Kimber chose to completely re-envison the poem by staging it in art deco New York City, drawing inspiration from film noir and American gangster films from the 1930's and 40's. "I started with character sketches from the author's intended era and kept moving forward in time until it felt right. The key was my realization the poem itself didn't need any help from the illustrations to be understood by the reader. That opened up a whole bunch of possibilities for me and I decided to tell a distinct but parallel story with the art."
Kimber introduced an Indian motorcycle for the highwayman to ride instead of the original horse, turned the King's soldiers into FBI agents and used the cool, austere grandeur of the Manhattan skyline to set a dark, and foreboding tone throughout the art. Generally known for his bold use of colour, Kimber also chose to virtually abandon colour and focus on a rich but limited palette. The look of the art is striking and new to people more familiar with Kimber's earlier work.

The Road was a Ribbon of Moonlight SOLD Charcoal, Black Conte and Acrylic on Paper 25 x 30 inches	Riding up to the Old Inn Door Charcoal, Black Conte and Acrylic on Paper 37 x 23 inches

He Rode Under a Jeweled Sky SOLD Charcoal, Black Conte and Acrylic on Paper 24 x 29 inches	Bess the Landlord's Daughter Charcoal, Black Conte and Acrylic on Paper 24 x 15 inches

Tim Loved the Landlord's Daughter Charcoal, Black Conte and Acrylic on Paper 25 x 30 inches	Look for me by Moonlight SOLD Charcoal, Black Conte and Acrylic on Paper 23 x 30 inches

Perfume Tumbled Over His Breast Charcoal, Black Conte and Acrylic on Paper 25 x 15 inches	He did not Come in the Dawning Charcoal, Black Conte and Acrylic on Paper 24 x 30 inches

A Red-coat Troop Came Marching Charcoal, Black Conte and Acrylic on Paper 25 x 30 inches	Bound to the Foot of Her Bed Charcoal, Black Conte and Acrylic on Paper 28 x 17 inches

They Bound a Musket Beside Her Charcoal, Black Conte and Acrylic on Paper 28 x 17 inches	The Trigger at Last was Hers Charcoal, Black Conte and Acrylic on Paper 25 x 16 inches

Up Bess Stands to Attention Charcoal, Black Conte and Acrylic on Paper 28 x 17 inches	The Highwayman Came Riding Charcoal, Black Conte and Acrylic on Paper 20 x 29 inches

Bess Drew One Last Breath Charcoal, Black Conte and Acrylic on Paper 28 x 17 inches	Musket Shattered the Moonlight Charcoal, Black Conte and Acrylic on Paper 28 x 17 inches

Not till the Dawn He Heard It Charcoal, Black Conte and Acrylic on Paper 28 x 17 inches	Back He Spurred Like a Madman Charcoal, Black Conte and Acrylic on Paper 24 x 28 inches

Shot Down on the Highway Charcoal, Black Conte and Acrylic on Paper 24 x 29 inches	The Still of a Winter's Night Charcoal, Black Conte and Acrylic on Paper 24 x 28 inches

He Taps His Whip on the Shutters Charcoal, Black Conte and Acrylic on Paper 24 x 16 inches