62. Luke Waller – The Creative City Poster (signed)
As part of The Creative City Exhibition we're auctioning one of a kind prints from our 99 artists, with most of the prints signed (shown in title – however, if listed unsigned we can work to get it signed for you), this is your opportunity to own a piece of BDF history.
Each poster is sized 800x1200mm on satin blue-back billposter paper, the same size as shown in the exhibition with postage included in the auction price. (due to the nature of the paper there may be some minor creases and inperfections.
In order to make a bid you must create an account. Successfull bidders will be required to pay on completion of the auciton.
50% of the sales from each poster will go to the artist, 40% to BDF to help support the festival and 10% to homeless charity SIFA Fireside
About the artist and work
Luke Waller is an award-winning British illustrator, animator and lecturer working across the fields of editorial, commercial, advertising and publishing. With clients spanning the globe, Luke works regularly in the editorial sector, with clients such as The Financial Times and Politico Europe.
Since completing his MA in Visual Communication in 2018, Luke has focused much more on creating projects and undertaking collaborations which challenge not only the way we think about the world today, but how we see it in the future.
When thinking about the theme of this exhibition, The Creative City, I wanted to offer something that on the surface speaks of the city’s resilience, its evolving nature and how that has directly affected the creativity of its inhabitants. It is, however, very important to me that this image goes further than that; I wanted the image to speak about loneliness and isolation. I wanted it to reflect us, as a society, as we come out of a pandemic. More than that, it needed to touch on the overwhelming weight of a history that cannot be evaded.
Although this image does not directly show reference to it, the themes I chose to focus on were the inescapable subjects of empire, conquest, nationhood, and nationalism. At first glance, the androgynous stone carving seems innocent and innocuous, but it is more than just a piece of architecture from a time long passed: it’s a symbol. It represents power, wealth, empire and with that, repression, slavery, racism, and genocide. This is the unavoidable truth we must face up to; as the second largest city, Birmingham played its part in all the above.
Once we start to acknowledge the past, we can start to talk about how we move forward and what forward looks like. The final two frames of the artwork are overwhelmingly positive – they hint towards a renewed sense of community and hope, whatever that looks like for each of us.
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