search.noResults

search.searching

saml.title
dataCollection.invalidEmail
note.createNoteMessage

search.noResults

search.searching

orderForm.title

orderForm.productCode
orderForm.description
orderForm.quantity
orderForm.itemPrice
orderForm.price
orderForm.totalPrice
orderForm.deliveryDetails.billingAddress
orderForm.deliveryDetails.deliveryAddress
orderForm.noItems
What was the hardest thing to draw in Drawn Across Borders?


At a field hospital inside Syria near the border with Turkey I drew a little boy on a children’s ward, called Bassam. He was ten and had lost his right leg, his mother and his brother a couple of days before in an air strike. When I met him he was lying in hospital with his father Abid crying at his feet. He said to me ‘Art cannot change anything,’ and in this moment I believed him. My instinct was to leave without finishing the drawing, but another man in the corner said passionately, ‘These are the scenes that the world should see. They are important to show the people what is going on here.’ War photographers often talk about hiding behind their cameras. I did the same behind my drawing board that day. The process of drawing became a way of hiding from the scene, and at the same time a prism for my brain to comprehend it, to make it safe on a page so I can remember the moment without being horrified.


Do you think illustration can be more truthful than a photograph?


We live in an increasingly interconnected world but run the risk of having a far shallower understanding of it. If you agree that the way in which we receive our news is now flawed, or ‘fake’, perhaps headlines are written for effect, perhaps paid content is disguised as news, or photographs manipulated to shock then it’s not a stretch to suggest that a drawing, done from life, on location with the permission of those in the image can be an equally accurate description of that time and a place.


How do you think illustrators can contribute to the discussion surrounding the refugee crisis and other issues?


By highlighting the personal, the vulnerable, the human and the ordinary with a language that we all speak. But I don’t think an illustrator’s contribution is specific to this crisis. I think illustration as an industry, (and I don’t mean the individuals, but as a body), has forgotten its ability to communicate to people of all ages. And should be striving to do so outside of the more obvious avenues children’s books, cards and place mats. There is an opportunity here to use the tried and tested, ancient and evolved formula of putting pen to page to communicate in a way that transcends language. What could be more powerful?


Can you describe walking across the border into Syria in August 2012 and drawing in the town of Azaz in Northern Syria and what you saw there?


In August 2012 I walked across the border from Turkey to Syria on my own expecting to find an exodus of people trying to get away but the border was empty. I was picked up by the Free Syrian Army and driven past bullet-ridden buildings, olive groves damaged by tanks and a petrol station caught in crossfire. When we arrived in Azaz, my translator and an English student from Aleppo University explained how thousands of people had fled this small town when the fighting broke out to villages in the countryside expecting to be able to return to their homes. I drew children playing on a burnt-out government tank, one of them wearing a New Look top. The fighting


Books for Keeps No.247 March 2021 13


had finished here 10 days earlier and would soon start again, but in meantime the few residents left were trying to fathom what had ripped through their homes. Were there shops still available? Had their cars been damaged? I found a scanner in the nearest Turkish town a day later and sent the image of children playing on the tank back to the Guardian G2.


What do you hope people will take away from Drawn Across Borders?


People move around the world for many reasons. Some migration is voluntary; most is not. People move for love, work, security, war, food and family. They have done for hundreds of thousands of years and still do. It runs deep in the human condition, but it’s an intricate and difficult subject for anyone to comprehend. I hope this book can offer a glimpse into some of the reasons people have for leaving behind places they once called home, places they still call home. What is clear to me as we begin a new decade – as the population increases, resources remain limited and climate pressure mounts – is that migration will vastly alter the future of the world and our species. Only by understanding individual cases better can we properly respond to migration as a whole. I hope these drawings are human straightforward and unthreatening, that they connect the viewer to that subject through a sensitive and handmade line; an imagined connection that can relate one person to another who otherwise would never have crossed paths. I hope I’ve done justice to the people I met who sat for long enough for me to draw them and told me their personal stories. I hope the images do the honesty of their words justice.


Drawn Across Borders is published by Walker Studio, 978-1406392166, £15.00 hbk.


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30