These walks will form the basis for a new series of paintings and accompanying written text looking at  Surrey’s contested spaces  including  derelict airfields (Wisley), abandoned military sites (Deepdene Bunker, Dunsfold Aerodrome), land-grabbed commons (St. George’s Hill, Cobham), islands in the Thames (Ham Island, Eel Pie Island, Swan Island, Alcott House), and housing schemes (Cambridge Road and Kingsnympton Estates). [1], 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. [23] Another exhibition, Britannia 2013–1981 ran in Hatfield from November 2009 until January 2010. The artist will undertake a series of short journeys through specific sites of cultural and socio-political significance relating to radical counterculture, land contestation and marginal political ideologies within the old boundaries of Surrey.

Since graduating from the Royal College of Art in 2007 she has become well known for her politically active and poetic engagement with London as a site of social antagonism. [3] 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. [23] 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. [20] Noting the recurrent imagery of eyes in Savage Messiah, Davies sees "the image of the disembodied eyeball ... as a commentary on the proliferation and prevalence of CCTV infrastructure" and "the social ramifications of proliferating levels of security and diminishing public space. [35] 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",[36] 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.

Laura Grace Ford (formerly Oldfield Ford) is a London-based artist and writer concerned with issues surrounding contemporary political protest, urbanism, architecture and memory. [35] 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. [3] 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. Drawing on cognitive mapping and the dérive Ford interrogates place by mapping the psychic contours of the city. Grace Ford aims for the project to be an “investigation into the marginal, a process of burrowing under the heritage version of England to uncover the repressed psyche of a land.

"[1], 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". [6] Her work on the East End is critical of the 2012 Summer Olympics, held in London, and the associated development program,[22] in particular the regeneration process surrounding the Olympic Park. [9] Each issue focuses on a different London postcode. [38] Her work was also featured in Urban Constellations, a 2011 collection edited by Matthew Gandy.

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.

The Stanley Picker Gallery at Kingston University is a public venue dedicated to the research, development, production and presentation of interdisciplinary contemporary arts practice. It used to be the inner cities that were sacrificed, ruled by slum landlords, starved of investment and surrounded by circles of unreachable affluence. We'll assume you're ok with this, but you can opt-out if you wish. Share Get link; Facebook; Twitter; Pinterest; Email; Other Apps ; Post a comment June 27, 2018 OPEN YOUR PALM … [25], In 2014 Ford's work was featured in Soft Estate at The Bluecoat in Liverpool. [28], Her solo exhibition Chthonic Reverb ran at Grand Union Gallery in Birmingham in 2016. Share Get link; Facebook; Twitter; Pinterest; Email; Other Apps; Post a comment Read more Latest posts. I consent to Stanley Picker Gallery collecting and storing my data from this form. Transactions of the Institute of British Geographers, "Laura Oldfield Ford: 'I map ruptures, such as the London riots, "Mapping a Gentrifying London with Laura Grace Ford's 'Savage Messiah, "Artist of the week 126: Laura Oldfield Ford", "Artist Laura Oldfield Ford examines the legacy of new towns in Hatfield", "Fanzines – The scene that smells of zine spirit", "Two Riots: The Importance of Civil Unrest in Contemporary Archaeology (draft)", "Savage Messiah by Laura Oldfield Ford – review", "There is a Place – Exhibition @newartgallery until 14.4.12", "Review: Soft Estate – Edward Chell, The Bluecoat, Liverpool", "Seroxat, Smirnoff, THC: Laura Oldfield Ford", "Living City Plan: Laura Oldfield Ford At Grand Union, Birmingham", "Zones Of Sacrifice: Drifting Through London With Laura Oldfield Ford", "Architects and designers are no good at altering your mental topography", "Art and gentrification: pursuing the urban pastoral in Hoxton, London", https://en.wikipedia.org/w/index.php?title=Laura_Oldfield_Ford&oldid=975855183, Wikipedia articles with SNAC-ID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 30 August 2020, at 19:40. She is the author of Savage Messiah. She exhibits and teaches across Europe and America. Tate Britain will be showing works by the artist as part of Ruin Lust, an exhibition of a wide-ranging interpretation on the subject of ruins in art from the 17th (reviewed in The Guardian) century to the present day (4 March-18 May 2014).

lauragraceford.blogspot.com London based artist and writer concerned with spatial narratives, contested space, architecture, fiction and memory (formerly Laura Oldfield Ford).

[39] As of 2019 Ford was writing fiction and collaborating with the musician Jam City on work continuing the themes of the Savage Messiah project.[2]. 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. 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. "[3] These include the East End of London and the new towns of Harlow, Hatfield and Stevenage. Listen to Laura Grace Ford | SoundCloud is an audio platform that lets you listen to what you love and share the sounds you create.. London. "[11], The entirety of Savage Messiah, featuring an introduction by Mark Fisher, was published in book form by Verso Books in September 2011. [1][30][31], 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. 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.[10]. [17] Comparing Ford's work to that of Burial, Taylor suggests their representation of "non-times and lost futures" constitutes "a means of imagining an alternative future. [10] Also in 2011, her work was featured in Orbitecture, an exhibition at the Grundy Art Gallery in Blackpool. Laura Grace Ford, originally from Halifax, West Yorkshire, studied at the Royal College of Art and has become well known for her politically active and poetic engagement with London as a site of social antagonism. [26] The same year, her work was included in Ruin Lust at the Tate Britain. [6] Ford has said "I regard my work as diaristic; the city can be read as a palimpsest, of layers of erasure and overwriting. Stream Tracks and Playlists from Laura Grace Ford on your desktop or mobile device. "[1] She described her subsequent work as a continuation of the same project. She exhibits and teaches across Europe and America. Featured August 26, 2019 Savage Messiah, random Zine Pages 2006. 132 Followers.

[33] 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. 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. stanleypickergallery@kingston.ac.uk. [9], J. D. Taylor has interpreted Savage Messiah as an exploration of themes of surveillance, gentrification and class conflict and the use of architecture as "a cynical strategy of social management and expropriation"[16] and suggested that Ford's work is part of a trend involving the "reclamation of the non-place". The walks and subsequent studio work will serve as examinations of physical marks in the landscape, of folklore, collective memory, and the politics of contemporary protest.”. Laura Grace Ford is a London-based artist and writer concerned with spatial narratives, contested space, architecture, fiction and memory. Finally, the artist will be presenting work in Comics Unmasked: Art and Anarchy in the UK at the British Library (2 May-19 Aug 2014) exploring the full range of the genre from mainstream to underground.

"[12] In his review for Eye, Rick Poynor praised her "acutely observant" writing and "assertively linear style of drawing"; concluding, he described the work as "graphic literature of great urgency. Courtesy the Artist.

"[18] Dominic Davies has read Savage Messiah in terms of the account of capitalist realism in Fisher's Capitalist Realism: Is There No Alternative?, noting that Ford rejects literary realism in favour of "a dystopian aesthetic" and fragmented nonlinear narratives. [9] Savage Messiah 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. She describes her practise as centring on walks through London and the creation of "emotional maps". Laura Oldfield Ford (born 1973), also known as Laura Grace Ford, is a British artist and author. [6] 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.

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