Sue Ford accepts that the camera records exactly what it is in front of it and that this is an objective record. Equally she understands that likeness is fluid and ultimately fugitive.
The human face is an ever-changing landscape, which reflects mood change and is shaped by a range of expressions. Fashion, expressed in changing hairstyles and colour, facial hair and makeup, also changes the face, as does the ineluctable decay that comes with age. If likeness is ephemeral, the static photograph is inadequate and can never be the summary image of a living individual.
Ford explodes the myth of likeness as a true record of an individual. With a sympathetic nod to the fictional Picture of Dorian Gray (which aged as the subject of the painting remained young) Ford’s multipanelled portraits taken at regular intervals record the tracks of time on a mercurial and ephemeral likeness.
Toni 1966 -74 - 82
Collection of the artist