Freelance Illustrator Artist Filmmaker

BAD RATING

Added on by Joe Magee.
Cover-1600px.jpg

I created this series of illustrations for The Guardian's G2 magazine, 20 February 2017, working with Guardian art director Ellen Wishart. The article, by Chitra Ramaswamy, focussed on how popular apps like AirBnB and Uber can facilitate prejudice by enabling users to deny each other on the grounds of, for example, what they look like on their profile photograph (ie on the grounds of race etc). The writer questions whether the lauded Sharing Economy is just a spontaneous deregulation movement ('companies deregulating themselves'). These massively profitable organisations seem to shirk responsibility and permit discrimination. If they don't change they will make the world a worse place - so don't believe their creepy Utopian marketing messages! https://www.youtube.com/watch?v=5qUTYHnLz2g

Full article: https://www.theguardian.com/technology/2017/feb/20/airbnb-uber-sharing-apps-digital-equality

TROLL INVASION

Added on by Joe Magee.

Social Media March illustration by Joe Magee for The Guardian

TROLL INVASION
The digital armies waging war online
The Guardian. Monday 07.11.16
Illustrations by Joe Magee
Art Editor Andrew Stocks

Summary
From Russian Trump supporters to Turkish state stooges, governments all over the world are manipulating social media for their own ends. that's where the digital footsoldiers come in - smearing opponents, spreading disinformation and posting fake texts for 'pocket money'.
Article written by Leo Benedictus
READ HERE

Hoodie Troll and Like Parachutes illustrations by Joe Magee

Social Media Grenade and Like Parachutes by Joe Magee

Guardian Cover with Like Parachute illustrations, November 2016

THE GARDEN OF REMEMBER

Added on by Joe Magee.

This series of illustrations was commissioned by METAL in Southend-on-Sea for an innovative project exploring dementia, due to go live in November 2016. The Dementia Project, lead by artist Simon Poulter, and developed by local artist Elsa James, is set in Metal's NetPark, located in Chalkwell Park, Southend-on-Sea. Visitors to the park are invited to borrow digital tablets and wander specific areas of the park that have been installed with wifi hotspots. As the tablets pick up the localised signals, images (seen here) and anecdotal stories by writer Alistair Gentry (working in conjunction with local park-goers who are living with dementia) appear and create a narrative based on both the fragmenting memories of those living with dementia and nearby features of the park, such as a particular tree or garden. All the illustrations employ images gathered in these particular locations in Chalkwell Park.

Titlepiece

The Slate Wall

The Sight Screen

Skipping Shadows

Garden of Remembrance

The Cedar Tree

The Dark Bushes

Ghost Tree

The Rose Garden

The Lavender Bushes

Conifer

The Pond Garden

Watershed 'Water' Illustrations

Added on by Joe Magee.

A series of illustrations by Joe Magee on the subject of water commissioned by Watershed Media Centre, 2016

Virtue, illustration by Joe Magee for Watershed, 2016

Nourish, illustration by Joe Magee for Watershed 2016

Pool, illustration by Joe Magee for Watershed, 2016

Still, illustration by Joe Magee for Watershed, 2016

Pill Palette

Added on by Joe Magee.

Pill Palette, 2016
Illustration and design by Joe Magee

Image commissioned by Create Gloucestershire
Poster commissioned by Gloucestershire NHS Clinical Commissioning Group

This poster has been produced by Gloucestershire NHS Clinical Commissioning Group. It is part of a national 'social prescibing' pilot project.

The image was commissioned by Create Gloucestershire, an arts incubator group, who wanted an image to accompany a piece entitled 'An artist a day keeps the doctor away', a discussion about the relationship between art and health, and how a daily 'dose' of art can help build and sustain a healthy and meaningful life.

The pill packet is so familiar but I've obscured what kind of pills might have been in it - whether simple painkillers or mind-tweaking anti-depressants. Generally, I think the act of poking out a pill from a packet elicits a particular feeling in the user - one of impending relief or a road to wellbeing. The fact that, in this image, the packet contains paints is disconcerting and makes the connection clearly between these feelings described and art. The bright and fun colours subvert what we expect in the normally monotone packaging and contents, adding an edge because its dangerous to consider pills to be fun - but Art can be anything it wants.

Visit Create Gloucestershire

Pop-up Art Sale

Added on by Joe Magee.

POP-UP ART SALE | JOE MAGEE
1-13 December 2015, 11am-6pm, Bristol 2015 Lab Shop, BS1 5TX
For the first 2 weeks of December I will be selling lots of art and art-related stuff! I have a space in the Bristol 2015 Lab Shop, in the heart of Bristol 100metres along the harbourside from Watershed. I'm intending to be in the shop for the duration, and will have special offers, discounts and some rare one-offs, as well as limited edition prints, books, posters and postcards.

Guardian, Comment is Free illustration

Added on by Joe Magee.

Razor Waves, Joe Magee April 2015

Razor Waves
Commissioned by The Guardian, April 2015
Desperate migrants brave overcrowded boats to reach European shores from Africa often with tragic consequences.

Courrier International Feature

Added on by Joe Magee.

Just completed a cover image for Courrier International, as well as a series of images for the interior, on the subject of The Circular Economy. The feature concerns the idea of an industrial economy that is restorative by intention, aiming to eradicate waste through careful design and reliant on renewable energy. A lot of the answers come from observing nature (biomimicry). Producers and consumers must be complicit. 

 

The Reader No.55

Added on by Joe Magee.

I'm proud to work with the wonderful Reader Organisation. Available now. Inside is a short essay about this portrait.

MAN IN GARDEN
In the 1990s I was doing a lot of portraits; this one is of my dad. It’s the biggest picture I’d ever done, about eight foot wide. It was part of an exhibition I held called Damage (shown at Manchester Metropolitan University’s Aytoun Gallery). It was a very experimental image; at that point it was quite new to mix media, like photography and paint, on a computer. I was playing around, exploring.

A photo, left untouched, was not enough. I knew what I wanted – a man sitting in an enclosed space, in a suburban setting, almost cage-like, with all the chaos of the world happening around him, beyond the walls.

The camera angle is very low – I’m crouching down looking up at him. Maybe that was part of how I view him – your first memories of your father are almost certainly of looking up at them, aren’t they? I also wanted his upper body and his head to be against the sky. I knew I was going to put imagery in the sky.

My father was a ship’s captain and through the greatest storms imaginable he kept a steady ship. I’m talking about his job, but maybe a bit about his family too – there were eight of us kids. He was a kind of rock, for sure; anyone who knew him would say that.

I crave narratives – that’s what I’m after when I look at a piece of art. Perhaps the picture was also a comment on his retirement: he’d had this incredible life, lived through two world wars, travelled round the world numerous times on the ships, escaping death continuously, and here he is retired, everything narrowed down to four walls. But even though his physical life has changed, life outside still swirls around him: he was very plugged in to the world – he’d often have two radios going at the same time whilst watching Ceefax on the telly. His head was probably awash with some of the new technology that had come in during his lifetime. When he went to sea at 16 he learnt how to navigate by the stars; by the time this photo was taken of him, people were using satnav just to go down the street.

I put the black hole next to him because I wanted to create a darkness; not one that dominated, but something you came across as you looked around the image, and that you might not even see if you didn’t look hard enough. It’s a squiggle of lines but in the middle of it there’s an absolute void that can’t be understood. My dad was in his eighties at the time of the photo, he died when he was 95.

Wherever I live, this picture is always the first thing to go up. It feels like my dad’s presence is there. It hangs on my landing wall and I sometimes touch his foot as I’m going past, like people do with religious idols in a church, wearing the stone away – I might be rubbing the ink off. It’s talismanic for me.