Laura Ford was born in Cardiff in 1961. She studied at Bath Academy of Art (1978-82) and at Chelsea School of Art (1982-83). Ford lives and works in Camden, London.
Select solo and group exhibitions include: Days of Judgment, Kulturzentrum Englische Kirche , Galerie Scheffel, Bad Homburg (2012); The New Art Centre, Roche Court, (2011); Frederik Meijer Gardens & Sculpture Park, Grand Rapids, USA (2007); 'Rag and Bone', Turner Contemporary, Margate (2006); Armour Boys, Royal Scottish Academy, Edinburgh (2005); Venice Biennale for Wales (2004); Wreckers, Beaconsfield (2004); Into My World: Recent British Sculpture, Aldrich Museum of Contemporary Art in Connecticut, USA, London (2003); Headthinkers, Houldsworth Gallery, Cork Street (2002); The Great Indoors, Salamanca Centre of Contemporary Art, Spain (1998); Camden Arts Centre, London (with Jacqui Poncelet).The Sculpture Show, The Serpentine and Hayward Galleries (1983).
Her work is represented in many public collections including; Tate, The Victoria and Albert Museum, Government Art Collection, Potteries Museum, National Museums and Gallery of Wales; Museum of Modern Art, University of Iowa; Arts Council of Great Britain; Contemporary Art Society; Unilever plc; Penguin Books; Oldham Art Gallery, The New Art Gallery Walsall, The Glynn Vivian Art Gallery, The Meijier Gardens, Grand Rapids USA and The Gateway Foundation, St. Louis, as well as numerous private collections.
Laura Ford works with soft fabrics, materials, found objects and bronze to create obstensibly sweet depictions of fantastical characters, such as animals wearing clothes and little girls from clichéd fairy-tales. Ford overrides any notion of sentimentality by placing her sculptural characters in contentious and sometimes menacing situations, such as homelessness, despondency and fear. Through an acute observation of the human condition Ford is able to create works which possess uncanny undertones and address the unease and violence of socio-political power struggles. She achieves this by blurring the line of the sweet, safe and familiar world of children with the realist and cynical world of adulthood. Her anthropormorphic characters often appear lost in a nightmarish world of reality; as if they have suddenly landed without prior warning of the difficulties of contemporary capitalist existence. Ford is expert at conveying the societal imposition of the problematic passage from innocence to adult experience.