Rob Ford

Moonlight Shadows I by Rob Ford
Moonlight Shadows II by Rob Ford
Moonlight Shadows III by Rob Ford
Cocoa Skies I by Rob Ford
Cocoa Skies II by Rob Ford
Cocoa Skies III by Rob Ford
Crimson Tide by Rob Ford
Wind Of Change by Rob Ford
Reflecting Sunset by Rob Ford
Red Poem I by Rob Ford
Red Poem II by Rob Ford
Crimson Sunset by Rob Ford
Crimson Skies by Rob Ford
Crimson Reflection II by Rob Ford
Robert Ford can’t put his finger on the specific time when he realised that an artist’s life was for him, although his childhood provided many opportunistic pointers as to that’s what might become of him in the future. Once he’d got the spontaneous graffitti’ing of his parent’s interior décor out of his system that is. As a youngster he’d apparently made it his repeat business to leave his indelible artistic mark on the walls of his family home in Essex. Only Ford’s dabbling didn’t stop with walls as he applied his creative flourish to rugs, carpets and even, bizarrely, toilet rolls much to his parent’s obvious dismay. Irrespective of their son’s customising of their interior, Ford’s parental unit backed him to the hilt when he expressed an interest (some time after these incidents) to pursue a career in contemporary art.

Incidentally, and roughly around the same time as the aforementioned events, Ford was also causing a stir at, firstly nursery, then primary school, by insisting on being allowed to complete his works of art before leaving the appropriate class/session, irrespective of the class/session having already run over its time. Such was his commitment to his art even at that early age. This passion for the subject rolled over into Ford’s secondary schooling, where in Felsted, Essex he was never far from his favourite class, the art room, and although describing himself as being far from the best painter or draughtsman, nevertheless an art scenario was where he felt he belonged.

Only Ford had to bide his time somewhat longer, as he instead found himself taking up roles in various dead-end jobs on leaving state education – and bagging a qualification in Fine Art from Colchester Institute thereafter – including spells in
removals, parcel delivery, waiting on, gardening and general office work in the intervening years which passed. But going back to the bit between school and said vocational periods of creative water-treading, and Ford discovered an avid interest in art history; which sat nicely with his ever-present art appreciation/ever-improving skillset. This new-found interest in Rembrandt, Van Gogh and Delacroix is what led to Ford enrolling at Art College, or in his case, Colchester Institute’s Fine Art course.

But this chapter in Ford’s younger life didn’t quite go according to plan either, as he soon found that words like Neo-Classicism and Pre-Raphaelite were almost looked upon as swear words in the eyes of his more avant garde tutors, who instead espoused the virtues of the leading exponents in the movements of Pop Art, Surrealism, Expressionism and Abstract. Turning a perceived negative into a positive though, Ford used his perturbed wit and wisdom for good by embracing the complete history of painters/painting instead, to collate anything and everything which he thought would improve his own, personal art in the long term. And as a by product found himself drawn to the works of renown abstract expressionist, Mark Rothko somewhat perversely.

Eventually, and after a spot of good fortune involving a themed restaurant, an art class chaired by Ford and making a nuisance of himself to a potential employer, Ford was to become the contemporary landscape artist he’d long harboured dreams of aspiring to. Let us explain. One day, while teaching art to folk at a local primary school (adult learners, not infants we’d like to clarify), Ford came across a small business who specialised in theme restaurants, in the neighbourhood. And then and there Ford pestered the owner of the company to give him the chance to create a wall mural for one of these theme restaurants so as to underline his illustrative credentials with a view to landing a gig with them. Ford managed to do just that, winning the MD owner with the mural he submitted for their approval, and so began a working relationship which has stood the test of time.

Once he found the perfect balancing act, Ford was in a position to juggle his day work with his own art, which he was still plugging away on behind the scenes; which in itself was beginning to reap rewards as it began gaining Ford recognition on the local contemporary art circuit, thanks in the main to being showcased in art galleries and other exhibition venues. This platform for his work also benefited Ford further by ensuring that commissions started to stream in too. In the end Ford set up his own home studio (in his now native East Anglia) where he still chops and changes his average days between originating large scale commercial murals and his personal, less restrictive illustrative requests. Naturally Ford considers himself lucky, despite more than having his creative work cut out, but we’re positive that he wouldn’t have things any other way, now that he paints for a living. On this note Ford adds; “When people ask me if it’s hard to make a living from a hobby? I simply reply, ‘painting has never been a hobby, it’s just what I do!’”

View All Art Works By Rob Ford