The belgian illustrator Kitty Crowther has eye for pink. Rarely has a color redressed in as many shades as in this ALMA-recipients bibliography, which is often marinerar existential themes in a playful and imaginative imagery. Sometimes Crowthers palette deep hot pink and then thinned out to a watery sheer baby-ditto as in ”Tales of the night” (2017), where the cut will return in the sky as the earth but also constitutes one of the elements in a rainbow-hued tree trunk.
(children)kammarspelet ”Is it time?” (2007) is signalfärgen instead a rough dusty pink, which goes again in the voluble of the toys that are waiting that the child should go to bed, as well as in parts of the interior and the skin of the child.
Even in the new ”FARWEST”, a cross-border cooperation with the illustrator, author and musician Peter Elliott – which took its beginning in the form of a lyric that got a responsive translation of the poet Malte Persson, flowing the pink color of the pages.
”Is it time?” was used to create a uniform shape in a small child's world, the pink colour is now rather space to the vast landscapes of the american wilderness, where the mountains smooth shapes similar to sockervadds and horisontens lines manats up with colored pencils. The aparta lines, whether inflicted with the help of pencil, chalk, or coal, to bind the sole with the big picture and create a vibrant story about belonging and exclusion. The plot is seemingly simple – a cowboy sets out to fix the food and when he returns he realizes that, ”while I hunted all day, had my place been taken!”
But if he wants he may stay anyway, there is a small stool to sit on.
this Situation repeats itself for every one that leaves his place until träkåken and the associated front yard is filled with people and there is not any greeting, even if they are only presented at the first name. Pioneers such as Rosa Parks, Patti Smith, and Martin Luther King are just a few of the that will.
with the many layers that flirts with the american wild west-images, but which also retrieves the figurative nourishment from its dubious past and the management of indigenous people, which Crowther stresses by placing one of these people on the picture-book's cover page. He sits on horseback and is, unlike the rest of the book, the comic in black and white as to establish a prologue and signal that there is a before the story itself.
all in all, ”FARWEST” to be read at two levels. On the one hand as a purely actual depiction of the sometimes breathtaking the conflict that arises when someone takes one's place, an event many children in the preschool age can relate to, and partly as a kind of artistic expression of migration and the human rights of a truly free image-makers.