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Examples of his cartoon animations Talking about his work Guardian article

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This is the first major UK exhibition devoted to Anna Boghiguian (born 1946, Cairo, Egypt). First organised by Castello di Rivoli Museo d'Arte Contemporanea, it brings together notebooks, drawings, paintings, photographs, sculptures and large-scale installations, including a new work made for Tate St Ives.

Books have been central to Boghiguian's work since the 1980s, from bound volumes and concertina folds to series of single drawings that recall film frames. Equally, Boghiguian's walk-through installations such as The Salt Traders 2015 and Promenade dans l'inconscient 2016 are like giant pop-up books.

Boghiguian has travelled all her life. The daughter of an Armenian clockmaker, she studied political science and art in Cairo, Egypt in the 1960s and arts and music in Montreal, Canada in the early 1970s. While keeping her studio and home in Cairo, Boghiguian travels extensively, bringing direct knowledge of world cultures and politics into her work.

A close observer of the human condition, Boghiguian proposes a unique and diverse interpretation of contemporary life. She draws equally on the past and the present, poetry and politics, joyfulness and a critique of the modern world.

The best overview of her artistic vision and work in French. Mapping the interlinkages across the world, through time and between objective and subjective.

https://www.tate.org.uk/whats-on/tate-st-ives/exhibition/anna-boghiguian

A PLAY TO PLAY 2013

This work is inspired by Dak Ghar (The Post Office), written in 1912 by the Indian poet Rabindranath Tagore (1861-1941). Anna Boghiguian has recreated the characters and settings of Tagore's play through paintings and cut-out figures inspired by props used in forms of folk theatre.

Tagore's play tells the story of Amal, a boy confined to his home by a serious illness, who dreams of receiving a letter from a king. Amal's separation and death are considered to represent India when it was under British rule (1858-1947). To research this work, Boghiguian visited Santiniketan, India, where Tagore founded a school promoting outdoor teaching.

Boghiguian's work also pays tribute to educator and writer Janusz Korczak (1878-1942). During the Second World War, Korczak staged The Post Office as a play at his orphanage. This children's home was in the Warsaw Ghetto, where Jewish citizens were imprisoned during the Nazi occupation of Poland. Korczak and the orphans were later transported to the Nazi death camp at Treblinka in 1942.

THE SALT TRADERS 2015

I remember a folk tale in which a king asked his daughter to describe her love for him. And she said: "like salt". Her father disliked the comparison, but she showed him that everything is tasteless without salt. He realised that for his daughter he was the taste of life, and that the girl was brilliant. I have always been the girl that tastes the salt.
Anna Boghiguian

Made up of painted sails, collages, honeycombs, sections of a boat, red wool and salt, this work is inspired by the commerce and history of salt. It is based on a story imagined by Anna Boghiguian about an ancient Roman salt ship emerging from melting polar ice in the year AD 2300. In Boghiguian's story, future civilisations use this ship to learn about the history of their world.

In ancient China, Egypt, Rome and elsewhere, salt was a valuable commodity used to preserve food. The Latin salarium (salt money) is the origin of the word 'salary'. The trade of salt has contributed to the creation of ports and shipping routes that have triggered human migrations to the present day.

The Salt Traders links world events relating to salt across history: the travels of Alexander the Great to salt lakes in Egypt; Mahatma Gandhi's pacifist Salt March in India; and the recent economic crisis in Greece, which Boghiguian terms 'a collapse of bread and salt'. She has mapped these histories, as well as scientific formulae related to salt, onto the various elements of her installation.

PROMENADE DANS L'INCONSCIENT (A WALK IN THE UNCONSCIOUS) 2016

This installation brings together stories, people and symbols from the history of the city of Nîmes, France. It is named after the title of Anna Boghiguian's exhibition in Nîmes in 2016-17.

Named after Nemausus, a Celtic god once worshipped in the region, Nîmes was founded by Roman military generals returning from the Battle of Actium, Greece (31 BC). This conflict led to Rome's control of Egypt, which Nîmes's coat of arms references by showing a crocodile, representing Egypt, chained to a palm tree symbolising Roman victory. More recently, Nîmes has been a centre of the global textile industry and is known for the bullfights that still take place in the city's Roman arena.

Boghiguian's procession of cut-out figures is a march backwards through Nîmes's history, featuring gods, Roman soldiers, a bullfighter and many other characters. The installation also includes Nemausus 2016, a blood-red curtain with a blue form that recalls both the palm tree and crocodile from Nîmes's coat of arms. This shape is made from denim, a material that originated in the city and takes its name from the French phrase serge de Nîmes (meaning sturdy fabric from Nîmes).

Very long personal history. English starts about 10 minutes in.

Vienna Biennale about the Armenian holocaust that her parents had fled from. Discusses relationship with Marxism.

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This is the first major UK exhibition devoted to Anna Boghiguian (born 1946, Cairo, Egypt). First organised by Castello di Rivoli Museo d'Arte Contemporanea, it brings together notebooks, drawings, paintings, photographs, sculptures and large-scale installations, including a new work made for Tate St Ives.

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Chris Ware has been an important influence on the way I look at issues of image, text and narrative, and the possibilities of non-linear approaches.

Edited from Wikipedia

Franklin Christenson " Chris" Ware (born December 28, 1967), is an American cartoonist. His works explore themes of social isolation, emotional torment and depression. He tends to use a vivid color palette and realistic, meticulous detail. His lettering and images are often elaborate and sometimes evoke the ragtime era or another early 20th-century American design style.

Ware often refers to himself in the publicity for his work in self-effacing, even withering tones.

I arrived at my way of "working" as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I "draw", which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world. I figured out this way of working by learning from and looking at artists I admired and whom I thought came closest to getting at what seemed to me to be the "essence" of comics, which is fundamentally the weird process of reading pictures, not just looking at them. I see the black outlines of cartoons as visual approximations of the way we remember general ideas, and I try to use naturalistic color underneath them to simultaneously suggest a perceptual experience, which I think is more or less the way we actually experience the world as adults; we don't really "see" anymore after a certain age, we spend our time naming and categorizing and identifying and figuring how everything all fits together. Unfortunately, as a result, I guess sometimes readers get a chilled or antiseptic sensation from it, which is certainly not intentional, and is something I admit as a failure, but is also something I can't completely change at the moment.

Although his precise, geometrical layouts may appear to some to be computer-generated, Ware works almost exclusively with manual drawing tools such as paper and ink, rulers and T-squares. He does, however, sometimes use photocopies and transparencies, and he employs a computer to colour his strips.

Graphic novel serialized in the alternative Chicago weekly newspaper Newcity and in Ware's comic book Acme Novelty Library in issues # 5-6, 8-9, and 11-14) from 1995 to 2000. Jimmy Corrigan is a meek, lonely thirty-six-year-old man who meets his father for the first time in the fictional town of Waukosha, Michigan, over Thanksgiving weekend. Jimmy is an awkward and cheerless character with an overbearing mother and a very limited social life. After an ill-timed phone call, Jimmy agrees to meet his father without telling his mother. The experience is stressful for him as he can barely communicate with anyone other than his mother, let alone his estranged father. The two do very little together and Jimmy's father, while well-intentioned, comes off to Jimmy as slightly racist and inconsiderate. A parallel story set in the Chicago World's Columbian Exposition of 1893 shows Jimmy's grandfather as a lonely little boy and his difficult relationship with an abusive father, Jimmy's great grandfather.

Graphic novel made up of fourteen printed works-cloth-bound books, newspapers, broadsheets and flip books-packaged in a boxed set (inspired by Duchamp??). The parts of the work can be read in any order.

The intricate, multilayered stories pivot around an unnamed female protagonist with a missing lower leg. It mainly focuses on her time in a three-story brownstone apartment building in Chicago, but follows her later in her life as a mother.

Loss is a dominant theme. The characters suffer loss in terms of relationships, romance, finance, weight, and in terms of the main character, loss of limb. The characters fear and resist these losses-though sometimes they desire it. As in other works by Ware, there is much interconnectivity-the smallest details have great importance in the work.

Quimby the Mouse

Quimby the Mouse is perhaps Ware's most autobiographical character. Quimby's relationship with a cat head named Sparky is by turns conflict-ridden and loving, and thus intended to reflect all human relationships. While Quimby exhibits mobility, Sparky remains immobile and helpless, subject to all the indignities Quimby visits upon him. Quimby also acts as a narrator for Ware's reminiscences of his youth, in particular his relationship with his grandmother. Quimby was presented in a series of smaller panels than most comics, almost providing the illusion of motion à la a zoetrope. In fact, Ware once designed a zoetrope to be cut out and constructed by the reader in order to watch a Quimby "silent movie". Ware's ingenuity is neatly shown in this willingness to break from the confines of the page. Quimby the Mouse appears in the logo of a Chicago-based bookstore "Quimby's", although their shared name was originally a coincidence.

The Last Saturday

Ware's latest project, The Last Saturday, a "comic novella," began appearing online every Friday at the website of the UK newspaper The Guardian, starting in September 2014. The story follows a few people in Sandy Port, Michigan: Putnam Gray, a young boy caught up in his sci-fi and space fantasies; Sandy Grains, a young girl and classmate who is interested in Putnam; Rosie Gentry, a young girl and classmate with whom Putnam is infatuated; Mr. and Mrs. Gray and Mrs. Grains. The strip also features in the newspaper's Weekend magazine.

The serialization has now apparently ended after 54 instalments. The bottom right-hand corner of the last page has a note that says, "END, PART ONE", but so far there appears to be no indication from The Guardian or from Ware that there is to be a Part Two.

Mural for 826 Valencia

Dave Eggers commissioned Ware to design the mural for the facade of San Francisco literacy project 826 Valencia. The mural depicts "the parallel development of humans and their efforts at and motivations for communication, spoken and written." The 3.9m x 6m mural was applied by artisans to Ware's specifications.Describing the work, Ware said "I didn't want it to make anyone 'feel good', especially in that typically muralistic 'hands across the water' sort of way,"..."I especially wanted it to be something that people living in the neighbourhood could look at day after day and hopefully not tire of too quickly. I really hoped whomever might happen to come across it would find something that showed a respect for their intelligence, and didn't force-feed them any 'message'."

Uncle Boonmee Who Can Recall His Past Lives

In 2011, Ware created the poster for the U.S. release of the 2010 Palme d'Or winning film Uncle Boonmee Who Can Recall His Past Lives by Thai director Apichatpong Weerasethakul. Describing the poster, Ware said "I wanted to get at both the transcendent solemnity of the film while keeping some sense of its loose, very unpretentious accessibility... This being a poster, however-and even worse, me not really being a designer-I realized it also had to be somewhat punchy and strange, so as to draw viewers in and pique their curiosity without, hopefully, insulting their intelligence."

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Chris Ware has been an important influence on the way I look at issues of image, text and narrative, and the possibilities of non-linear approaches. Edited from Wikipedia Franklin Christenson " Chris" Ware (born December 28, 1967), is an American cartoonist. His works explore themes of social isolation, emotional torment and depression.

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UK feminist artist working on issues of sexuality, violence and abuse. Her back-traced monoprint and ink drawings with their vulnerable line and simple text are particularly moving.

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See: Google images for Tracey Emin Self Portrait Tate page on Tracey Emin Self

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British Black and White landscape photographer working on environmental issues. Key activist in the Ramblers Association and campaign for the Right to Roam.

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Japanese 'flaneur' photographer usually working in stark black and white monochrome images of walks and journeys.

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French painter, printmaker and sculptor working on psychological autobiographical themes. I have been very influenced by her simple drypoint line and use of abstraction and symbolism.

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Google images for Louise Bourgeois drypoints
See MoMA catalogue of Bourgeois drypoints
Google images for Louise Bourgeois self-portraits
Louise Bourgeois was the main source of inspiration for my series of abstract self-portraits: Assignment 4: Life in Red White Black

Louise Bourgeois was born in Paris in 1911. Her parents ran a tapestry restoration business where she helped out by drawing missing elements in the scenes depicted on the tapestries.

Bourgeois's work is based, more or less overtly, on memory. Much of her work probes themes of loneliness, jealousy, anger, and fear. Many of these emotions originate in her vivid memories and sense of betrayal by her father who carried on an affair with Sadie Gordon Richmond, the English tutor who lived in the family house. This led her to seek psychoanalysis - a subject she wrote about a lot in her diaries. Through her work she is able to access and analyse hidden (but uncomfortable) feelings, resulting in cathartic release from them. She has said:

Some of us are so obsessed with the past that we die of it. It is the attitude of the poet who never finds the lost heaven and it is really the situation of artists who work for a reason that nobody can quite grasp. They might want to reconstruct something of the past to exorcise it. It is that the past for certain people has such a hold and such a beauty ... Everything I do was inspired by my early life.
( Destruction of the Father, p.133.)

Bourgeois started printmaking in 1938, the year she moved to New York with her husband Robert Goldwater (1907-73). She experimented widely with techniques and effects, producing an important portfolio of etchings titled He Disappeared into Complete Silence(The Museum of Modern Art, New York) in the 1940s.

She used drypoint more frequently than any other technique. She produced around 1,500 prints that use only drypoint, or in combination with other intaglio techniques. She liked the fact that the drypoint needle was easy to manipulate and that no acid or special equipment was required. She referred to the scratching as an "endearing" gesture, a kind of "stroking." While it could not "convert antagonism," something she admired in engraving, she liked the immediacy of drypoint's effects, with its soft, irregular line and tentative qualities. She used drypoint in some her most iconic print projects, such as the Sainte Sébastienne series, the portfolio Anatomy, and the illustrated book Ode à Ma Mère, which presents a range of her celebrated spider imagery.(https://www.moma.org/explore/collection/lb/techniques/drypoint)

Malbert, R., (2016) Louise Bourgeois: Autobiographical prints, London: Hayward Publishing.

Muller-Westermann, I. (ed.) (2015) Louise Bourgeois: I Have Been to Hell and Back, Ostfildern, Germany: Hatje Cantz Verlag.

Wye, D., (2017) Louise Bourgeois: An Unfolding Portrait, New York: MoMA.
See MoMA Catalogue for Louise Bourgeois work See Tate catalogue of works by Bourgeois

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Google images for Louise Bourgeois drypoints See MoMA catalogue of Bourgeois drypoints Google images for Louise Bourgeois self-portraits Louise Bourgeois was the main source of inspiration for my series of abstract self-portraits: Assignment 4: Life in Red White Black Louise Bourgeois was born in Paris in 1911.

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UK-based author of the satirical 'Scarfolk' using a mix of disturbing and comic images in photomontage.

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Scarfolk is a fictional northern English town created by writer and designer Richard Littler, who is sometimes identified as the town mayor. First published as a blog of fake historical documents, parodying British public information posters of the 1970s, a collected book was published in 2014.
https://scarfolk.blogspot.com https://www.youtube.com/channel/UC1t7KxXy44QC5qC1R0h53Mg

https://twitter.com/Scarfolk/status/1156842642111631361

Littler has said "I was always scared as a kid, always frightened of what I was faced with. ... You'd walk into WHSmith... and see horror books with people's faces melting. Kids' TV included things like Children of the Stones, a very odd series you just wouldn't get today. I remember a public information film made by some train organisation in which a children's sports day was held on train tracks and, one by one, they were killed. It was insane. ... I'm just taking it to the next logical step.

Scarfolk, which is forever locked in the 1970s, is a satire not only on that decade but also on contemporary events. It touches on themes of totalitarianism, suburban life, occultism and religion, school and childhood, as well as social attitudes such as racism and sexism.

Scarfolk was initially presented as a fake blog which purportedly releases artefacts from the town council's archive. Artefacts include public information literature, out-of-print books, record and cassette sleeves, advertisements, television programme screenshots, household products, and audio and video, many of which suggest brands and imagery recognisable from the period. Additionally, artefacts are usually accompanied by short fictional vignettes which are also presented as factual and introduce residents of Scarfolk. The public information literature often ends with the strapline: "For more information please reread."

The aesthetic is utilitarian, inspired by public sector materials in the United Kingdom such as Protect and Survive.

A television series co-written by Will Smith was described as "in the works" in 2018.

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Scarfolk is a fictional northern English town created by writer and designer Richard Littler, who is sometimes identified as the town mayor. First published as a blog of fake historical documents, parodying British public information posters of the 1970s, a collected book was published in 2014.

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Artist based in Suffolk, UK. Her work includes large dramatic paintings and monoprints of the sea, environmental and political issues. She has also done very expressive and sensitive charcoal and ink portraits of family and friends.

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Maggi Hambling was the artist and printmaker chosen for my Parallel Project.
LifeUnleashed_Hambling_ParallelProject_Mayoux511740
considers the different techniques she uses to communicate movement in her drawing, painting and printmaking and some of the learnings for my own printmaking practice.

Overview of her work

for British Museum 'Touch' exhibition 2016

"The border-line between what is tragic and what is comic interests me...They are a pathetic human way of trying to come to terms with the fact of our own death, the fact of other peoples' deaths, the fact of the horror we see on the news everyday, the terrible things that happen. Some moments you cry, other moments you laugh" (Conversation with Judith Collins Hambling 1993 p13)

Drawing and portraits

My first introduction to Maggi Hambling was through the 'George always' exhibition at the National Portrait Gallery in 2009.

Then her wave and Walls of Water paintings shown at the National Gallery. These include a series of monotypes first shown at Malborough Fine Art (see the exhibition), then the Fitzwilliam Museum in Cambridge and the National Gallery.

More recently her work has been more political with the exhibitions, dealing with topics like global warming, migration and war:

How important is being 'lesbionic'?

Hambling, M. (1993). Towards Laughter. Sunderland, UK, Northern Centre for Contemporary Art.
Hambling, M. (1998). maggi & henrietta.
Hambling, M. (2006). Maggi Hambling the Works and Conversations with Andrew Lambirth. London, Unicorn Press Ltd.
Hambling, M. (2009). The Sea. Salford Quays, The Lowry Press.
Hambling, M. (2009). You Are the Sea. Great Britain, Lux Books.
Hambling, M. (2015). War, Requiem and Aftermath. London, Unicorn Press Ltd.
Ramkalawon, J. (2016). Maggi Hambling Touch: works on paper. London, Lund Humphries and British Museum.
Maggi Hambling website Exhibitions
Attitude towards death and relationship with Henrietta Moraes Evening Standard 1999

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Maggi Hambling was the artist and printmaker chosen for my Parallel Project. LifeUnleashed_Hambling_ParallelProject_Mayoux511740 considers the different techniques she uses to communicate movement in her drawing, painting and printmaking and some of the learnings for my own printmaking practice.

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South African artist working with charcoal stop motion and moving image. Work on political issues like colonialism and political conflict as well as philosophical themes like time and space.

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William Kentridge (born 28 April 1955) is a South African artist best known for his prints, drawings, and animated films. These are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time. A single drawing will be altered and filmed this way until the end of a scene. These palimpsest-like drawings are later displayed along with the films as finished pieces of art.
See more information on Tate Gallery website

Animator William Kentridge animates with charcoal on paper, leaving traces of
each drawing behind as the movement progresses. These traces lend a depth to
the image as well as the time of the animation. They also serve a narrative
purpose. Kentridge's early animations were copied from early Soviet films, placed
in the Apartheid, South African context. Apartheid was a system predicated on
the exploitation of black South African labour in the interests of white South
African society. Kentridge uses his animation to express his feelings of guilt for
being a white male with inherited wealth and status as well as his personal
fantasies of acceptance and forgiveness. The layered shadows of previous
drawings that haunt his animations are ghostly reminders of the time that each
drawing took to make. Animation here serves as a kind of penance.

Working process

Examples of charcoal animation

See also performance from Whitechapel Gallery

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William Kentridge (born 28 April 1955) is a South African artist best known for his prints, drawings, and animated films. These are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time.

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Political travel documentary about Africa collaging photography and illustrations. He died young documenting the conflict in Somalia.

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UK illustrator, graphic designer, painter and printmaker. Much of his work is on environmental and social issues, collaborating with writers like Robert MacFarlane and video-makers. He also designed record covers for Radio Head.

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UK illustrator who works on political themes, particularly social deprivation and conflicts in urban areas. She works in ballpoint pen, acrylic paint and spray paint.

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Streets are indelibly marked by moments of socio-political intensity - uprisings, occupations and raves, trauma, anxiety and militancy - as well as the tremors and faultlines of your own past. The purpose of my walks is to identify something lingering, fizzing in the present. I'm not thinking about memory as a sanitised image, but as a texture in the moment, the sense that a place is crackling with agency. For me, this spectrality allows for a revisiting and reactivating of emancipatory currents.

Savage Messiah as "a series of stories; broken narratives that articulated a certain moment, a certain relationship with the city. It was about transience and impermanence, but also about the bonds that form in those moments: kinship, comradeship and love."
Ford 2018 quoted Wikipedia

I think a lot of what is called psychogeography now is just middle-class men acting like colonial explorers, showing us their discoveries and guarding their plot. I have spent the last twenty years walking around London and living here in a precarious fashion. I've had fifty addresses. I think my understanding and negotiation of the city is very different to theirs.
Laura Grace Ford. Savage Messiah 2011 pxvii

"Collided into a great block, the catalogue of urban rambles takes on a new identity as a fractured novel of the city...In the end, it's about walking as a way of writing, recomposing London by experiencing its secret signs and obstacles."
Iain Sinclair reviewing the Savage Messiah for The Guardian, quoted Wikipedia

Laura Oldfield Ford (also known as Laura Grace Ford born 1973) is a British artist and author.

Her work explores political themes and focuses on British urban areas. This draws on her experience of growing up in Halifax, West Yorkshire in a community hit by the decline of the textile industry. In Leeds and later in London, she became involved in the punk, rave and squatting scenes and produced zines and posters influenced by Raymond Pettibon, Linder Sterling and Jon Savage. She took her Bachelor of Arts at the Slade School of Fine Art and her Master of Arts at the Royal College of Art (RCA. At the RCA's graduation show in 2007 she exhibited a four-section painting depicting herself in each panel against a backdrop of urban chaos.

She works in ballpoint pen, acrylic paint and spray paint.

Her zine Savage Messiah, which centres on London, was published from 2005 to 2009 and collected as a book in 2011. Her more recent work continues her focus on areas of urban dispossession including East End of London and the new towns of Harlow, Hatfield and Stevenage where regeneration and 'gentrification' seeks to concrete over city wastelands with old tower-blocks and bleak 'recreational' open spaces.

Other Links
https://bubblegumclub.co.za/art/savage-messiah-by-laura-grace-ford/ https://www.somersethouse.org.uk/blog/appendix-005
Savage Messiah

Savage Messiah takes its name from H. S. Ede's biography of the French sculptor Henri Gaudier-Brzeska, Each issue focuses on a different London postcode. Ford uses the Situationist technique of the dérive: "urban drifts", or walks, during which Oldfield Ford collected images which were then placed alongside both original and found texts, with the purpose of describing places, people and events.

Savage Messiah was self-published from 2005 to 2009 before being published by Verso in 2011. A new edition of Verso's Savage Messiah was published in 2019, featuring a new zine about west London in the wake of the Grenfell Tower fire and an introduction by Greil Marcus that identifies Walter Benjamin, Surrealism, the Situationist International and work by Nan Goldin and Andrea Arnold as precursors to Ford's work.

Later work

!! to work on further. Here cut and paste from Wikipedia
https://en.wikipedia.org/wiki/Laura_Oldfield_Ford
Ford's work subsequent to Savage Messiah tends to move beyond the zines' focus on London and beyond the zine from, concerning other geographical spaces and adopting other forms including paintings and installations. Her work was also featured in Urban Constellations, a 2011 collection edited by Matthew Gandy. As of 2019 Ford was writing fiction and collaborating with the musician Jam City on work continuing the themes of the Savage Messiah project.

From January until March 2009, a collection of her work entitled London 2013, Drifting Through the Ruins, including all ten issues of Savage Messiah, was featured in London's Hales Gallery. Ford was one of three artists whose work was exhibited as part of Slump City at SPACE in London in June 2009. Another exhibition, Britannia 2013-1981 ran in Hatfield from November 2009 until January 2010.

In February 2011, Ford's work was on display in Bristol as a part of Poster Sites, a project commissioned by Arnolfini. She created 11 posters based on dérives in the city; though Arnolfini produced a map and Ford led a walk between them, they were primarily left to be casually witnessed by the public. Also in 2011, her work was featured in Orbitecture, an exhibition at the Grundy Art Gallery in Blackpool.

In 2012 her work was exhibited as part of There Is a Place... at The New Art Gallery in Walsall. Also in 2012, work by Ford inspired by El Raval and protests in Barcelona were featured in Desire Lines at the Espai Cultural Caja Madrid in Barcelona.

In 2014 Ford's work was featured in Soft Estate at The Bluecoat in Liverpool. The same year, her work was included in at the Tate Britain. Later that year a solo exhibition of paintings and collaged drawings entitled Seroxat, Smirnoff, THC ran at the Stanley Picker Gallery in Surbiton.

Her solo exhibition Chthonic Reverb ran at Grand Union Gallery in Birmingham in 2016. Featuring audio and visual work, the exhibition focuses on Birmingham, where Ford lived in the early 1990s, including Herbert Manzoni's impact on the city and the Big City Plan.

In 2017 Ford's solo exhibition Alpha/Isis/Eden ran at The Showroom in London. The exhibition focused on the effects of urban regeneration in the neighbourhood surrounding the gallery near Edgware Road in central London, and included audio recordings of the area.

Themes and practice[edit]

Skye Sherwin of The Guardian writes that Ford's work "focuses on areas haunted by an urban dispossessed, which regeneration seeks to concrete over: city wastelands where fortress-like old tower-blocks rise, with their Escher-like walkways and bleak 'recreational' open spaces." These include the East End of London and the new towns of Harlow, Hatfield and Stevenage. Her work on the East End is critical of the 2012 Summer Olympics, held in London, and the associated development program, in particular the regeneration process surrounding the Olympic Park. Christopher Collier has argued that Ford's work utilises "semi-fictionalised settings of dilapidated blue-collar and immigrant districts of a post-Thatcherite London increasingly ghettoised, defunded and threatened by the state."

Her work also engages with architecture. In a 2009 interview Ford reiterated the centrality of a critique of urban regeneration, and expressed an interest in brutalist architecture (referring specifically to Broadwater Farm in Tottenham and Robin Hood Gardens in Poplar. Ford has argued that brutalism is significant due to "the collective ideals inherent in it: the rethinking and radical reshaping of public space, the idea of cities being conducive to an endless ' derive', the postwar idea that everyone is entitled to a publicly owned house." She also critiqued "an obsession with friendly looking architecture, curved lines, outgrowths of green roof tops, panels and balconies in Scandinavian wood or brightly coloured aluminium", describing these trends as "playschool architecture". In 2018, Ford noted that her recent work was concerned less with inner cities and more with suburbs and urban peripheries: "That's mostly where you have to go now if you want to encounter the former intensity of zones 1 and 2 ... It used to be the inner cities that were sacrificed, ruled by slum landlords, starved of investment and surrounded by circles of unreachable affluence. But in the past decade or so there has been an accelerated reversal of this process."

In the Transactions of the Institute of British Geographers, Andrew Harris wrote that London 2013, Drifting Through the Ruins (2009) "attempts to reactivate more conflictual architectural, political and aesthetic strategies that have been largely erased by the widespread gentrification of London since the 1970s" and is an example of an intervention which offers "an important and neglected resource for complicating, disrupting and re-visioning understandings of urban change". Paul Gravett describes Ford's work as being fuelled by a longing for a past incarnation of the punk subculture and a "recovery of punk's provocation and politicisation".

Contemporary archaeologist James R. Dixon set Ford's February 2011 Arnolfini exhibition against the April 2011 Bristol riot. Dixon saw in her work "the material conditions that can be identified as a contributing factors" in the riot, and noted that rather than being immediately apparent, those conditions are identified by Ford through the dérive technique and her use of found images. Dixon argues that, like the riot itself,

Oldfield Ford's work exposes what is hidden by the veneer of respectability ... [it shows] just how thin that veneer is, how beneath the fake harmony of consumerism and happy lives there is a "truth" of hardship, decay, and violence that will, on occasion, reveal itself. It is ... observed not easily, but by durational engagement with places, both in the form of the drifts and "off-site" in the forming of the juxtapositions of images and text that most accurately represent the potential of a place to experience civil unrest.

She describes her practise as centring on walks through London and the creation of "emotional maps". Ford has said "I regard my work as diaristic; the city can be read as a palimpsest, of layers of erasure and overwriting. The need to document the transient and ephemeral nature of the city is becoming increasingly urgent as the process of enclosure and privatisation continues apace." Discussing Alpha/Isis/Eden in 2018, she said "I walk around London to gauge what's happening, to tune into the affective shifts. This is how I think about walking and memory, as a process of piecing fragments together to resurrect something, to stop them being erased, and to will something into being." She also said, in the same interview:

While Ford's work has been described as psychogeography, Mark Fisher suggested that it be understood instead in terms of Jacques Derrida's account of hauntology, in order to better understand the ways the urban spaces she depicts represent "ghosts" or political paths not taken. Christopher Collier, conversely, has proposed that Ford's work be understood as both hauntology and psychogeography, and that such an approach allows a reappraisal of the politics of psychogeography. Collier argues that " Savage Messiah is psychogeographical in that it involves drifting through the city, exploring the effects of the environment upon behaviour and emotion", but also draws on hauntology as a means of engaging "the failures of social democracy and post-war Modernist urban planning, but also ... the collapse of the psychogeographic revival" of the 1990s.

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Streets are indelibly marked by moments of socio-political intensity - uprisings, occupations and raves, trauma, anxiety and militancy - as well as the tremors and faultlines of your own past. The purpose of my walks is to identify something lingering, fizzing in the present.

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Reportage Illustrator from New York often working on political events like Black Lives Matter marches, and also witness and illustrator of 9/11 bombings. Her style is very expressive line work, often in graphite or charcoal or ink and wash adapted to her subject matter.

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Illustrator, book designer and animator. His work uses dramatic composition and saturated colours, often working in pastel or traditional media like ultramarine power and sugar tea technique from Morocco.

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Evan Turk is an illustrator, animator, and designer working in New York City. He specializes in travel illustration, on-location event reportage, cultural children's books, and concept illustration for video games, animation, and advertising.

His illustration are very colourful and dramatic. Much of his work is in pastel on coloured paper. Other work is very experimental in his use of media as in the use of traditional Moroccan ultramarine and sugar tea in The Storyteller.

He also does animation concept work, using layered effects from his illustrations.
https://evanturk.squarespace.com

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Evan Turk is an illustrator, animator, and designer working in New York City. He specializes in travel illustration, on-location event reportage, cultural children's books, and concept illustration for video games, animation, and advertising. His illustration are very colourful and dramatic. Much of his work is in pastel on coloured paper.

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A US illustrator who makes laconic philosophical cartoons in simple ink line, sometimes adding marks and collage as the basis for his characters.

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Saul Steinberg (June 15, 1914 - May 12, 1999) was a Romanian American cartoonist and illustrator. He described himself as "a writer who draws". He works mostly in pen, often a single black line, to produce complex witty commentary on absurdities of life. In some of his illustrations he also incorporates black and white collaged elements and objects like thumbprints.

He is best known for his work for The New Yorker. His cartoons have been compiled and produced in a number of books.

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Saul Steinberg (June 15, 1914 - May 12, 1999) was a Romanian American cartoonist and illustrator. He described himself as "a writer who draws". He works mostly in pen, often a single black line, to produce complex witty commentary on absurdities of life.