For almost thirty years I have been illustrating books. What characterizes me as an illustrator? Diversity would be a key word.
In my artistic development I explore the different expressions in my own work. I look for patterns, similarities and differences. I hope to find not one identity, but a handful, acknowledging my ability to be more than one.
Does the manner we draw tell something about who we are? In this project I investigate the line, or the contour drawing through a research experiment. If an assistant is drawing a contour drawing based on a design defined by me - who is the author? And is it possible to revitalise the contour drawing in the 21th century?
"How can illustration approach the non-representable?"
The question is linked to ways of commemorating the children who died during the Holocaust and what kind of representations could be appropriate. As part of a workshop drawing process, information is unfolded about children whose existence was previously documented only by the ghetto archives and the deportation lists made by the Nazi-German administration of Litzmannstadt ghetto.
The methodology has been developed though workshops. In the final step of part I, the project investigates how the material may be developed to a book/archive.
In the years after her death in 1954 Frida Kahlo´s work was little known outside the Surrealist society and the Mexican art scene. But in the 21st century she is widely recognized all over the world. Det hjertet husker (What the heart remembers) is a fictional picture book aimed to convey her art to children. This keynote discusses affordances of analog and digital tools in an illustration process where biographical details and recognition of the artists work is of importance.