TOTAL LICENSING
triumph”, and is now permanently hundred and ten days without a single Bruce Boa, the Canadian actor who
“He wields a
housed in the Town Hall. break and the only technical tools used played the American guest in Fawlty mighty brush!”
were three Towers was very ill but he came to
- Stephen Fry
lengths of see JP every day working on Levia-
black cot- than. He said watching the city grow
ton running made him want to go on living. He
from three died not long after it was completed.
perspective He brought flowers to the unveiling
‘Vanishing but had to leave because he was too
Points’ and ill to stand. JP has said of this mov-
a scalpel to ing tribute; “When I look at a canvas
cut frisket side-on I wonder how there can be so
for mask- much energy inside a paper-thin area
ing around of paint.”
buildings JP says of his interest in art and his ex-
and an air- citement to be entering the licensing
gun to paint industry: “I like teamwork and walking
JP has also started an icon project en- the sky. JP paints everything by hand. into sound stages at Pinewood. This is
titled Ten Gods, his first design is of The painting was unveiled in London where I come alive. Those huge spaces
David Beckham (a detail from which is in 2004 and received a standing ova- where anything is possible. I had the
pictured far right). He only interprets tion from two hundred people includ- same feeling going to Brand Licens-
people he either likes or feels a link ing Norman Foster’s group. Stephen ing show at Olympia last year to see
to. Monroe will be next as she has a Fry who saw the painting said of JP what licensing was all about. It was
back-story that JP can relate to, and “he wields a mighty brush!” like walking into a giant sweet factory,
one that is rarely told in print. JP talks of the work involved in large- all those colours and shapes. I felt ac-
JP Trevor is also known as one of scale work; “On a job like Leviathan knowledged and welcome.”
America’s top ten landscape painters. or the huge one
hundred foot
“I like the smell of paint, the air
paintings of Go-
gun hissing away, and the
tham City, staying
brushes that slowly wear out
focused - and fit!
and die and are replaced with
- is essential to
gleaming new ones.”
maintain the initial
American collectors have paid five fig- vision. The imagi-
ures and up for JP’s classic mountain nation is always
scenes. Almost all of the artists work wanting to add
has sold since he started painting at and change things,
age sixteen. Major collectors of his but if the brief de-
work include John Hancock III; Lewis mands an exacting
Gilbert: film director of 007 Moon- style/theme, being
English Meadows 30 x 40”
raker; John Howard Davies, producer: fused to the proj-
Monty Python; and The Honourable ect is a must. Sometimes when I look As a prelude to his signature style - in
Idar Rimstead, former US Ambassador at some of my work, especially a major the final stages of development - four
to the United Nations. project, I don’t understand that it was major works by JP Trevor are being
JP’s biggest work to date is Leviathan, me who did it and I look at my hands made available to the licensing indus-
a painting thirty foot wide by five foot and think, these did it, but where was try for the first time. Leviathan, Ber-
high using mixed media. It took one I when it happened?” ecingum, Blue God and Phantazia.
To find out more about
these licensing
opportunities and to
receive his licensing
brochure, contact JP
Trevor at:
jptrevor@mac.com or
07941 060 495 or visit
www.thinkshapes.com
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