Laura Grace Ford

Laura Oldfield Ford (born 1973), Her zine Savage Messiah, which centres on London, was published from 2005 to 2009 and collected as a book in 2011. in a community hit by the decline of the textile industry. 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.

Work and career Savage Messiah, which takes its name from H. S. Ede's biography of the French sculptor Henri Gaudier-Brzeska, was self-published from 2005 to 2009. In 2008 Owen Hatherley named Savage Messiah 10: Abandoned London as one of his "books of the year", describing it as "an oneiric vision of a depopulated, post-catastrophe capital, pieced together from snatched conversations and reminiscences, set in a landscape of the labyrinthine ruins of 1960s architecture and today's negative-equity banlieue."

The entirety of Savage Messiah, featuring an introduction by Mark Fisher, was published in book form by Verso Books in September 2011. 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."

Hari Kunzru listed the Verso publication as a "book of the year" for 2011 and described it as "a wake-up call to anyone who can only see modern cities through the lens of gentrification." In 2012 Greil Marcus described Savage Messiah as a continuation of the work of the Situationists Guy Debord, Ivan Chtcheglov, and Michèle Bernstein, and as "a delirious, doomstruck celebration of squats, riots, vandalism, isolation, alcohol, and sex with strangers, all on the terrain of a half-historical, half-imaginary city that the people who Ford follows, herself at the center, can in moments believe they built themselves, and can tear don as they choose." In a 2013 review for the American Book Review, Sukhdev Sandhu described the Verso publication as an example of "invisible literature" and "avant-pulp psychogeography" able "to rekindle erased histories of popular dissent from the 1970s to the 1990s", and one relevant to "a new and possibly endless age of austerity".

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" and suggested that Ford's work is part of a trend involving the "reclamation of the non-place". 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." 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. Comparing Savage Messiah to Alan Moore and Eddie Campbell's From Hell, Davies argues that both works draw on London's past to critique its present. 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."

In 2018 Ford described 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."

Exhibitions 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. 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 Ruin Lust 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. In 2022, Ford's installation An Undimmed Aura was part of the Somerset House group exhibition The Horror Show.

Themes and practice 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." 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. 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." 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". 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.