My explorations took us deeper and deeper into the vast interior. An aisle eventually led us into a colossal gallery dimly lit by narrow side windows. Magnificient globe-shaped lamps hung from the ceiling; many of them cracked or smashed, and on either side were the hulks of great machines—broken and corroded relics from a forgotten, intellectual age.
I’m very grateful to artist, Bill Nims for all the drawings he’s made for The Time Machine, especially for his latest, beautiful rendering of the interior of the Palace of Green Porcelain. I’m constantly replaying each scene of this musical in my mind’s eye as if it were a movie or a West End theatre show and this picture is just how I imagined the interior of the Palace of Green Porcelain to be—epic! Bill really has done a superb job of capturing the dark, gloomy atmosphere of this vast, derelict old museum of the future.
I can’t tell you how thrilling it is to see this project being slowly, but surely brought to life with just a handful of pencil sketches and the few fragments of music I’ve managed to piece together so far—it’s a magical process. It’s almost as if this world has it’s own, independent reality, that is, it’s not in our imagination, but actually exists and we’re just trying to bring impressions of it back to our world to show others what we see. Well that’s how it seems to me anyway.
Anyway, returning to more practical matters, the idea is to take Bill’s concept art and add even more depth, richness and detail, to achieve photo-realism. Luke Gonet is working on this right now, building computer models of the cast-iron pillars and gantries, which he’ll use in his reconstruction of the interior. It’s a tough assignment though, as Bill has set the scene and, more importantly, the mood so perfectly that I reckon it’s going to be difficult to improve on what he’s come with so far.