Her work with anarcho-punk band Crass was seminal to the 'protest art' of the 1980s. Vaucher has always seen her work as a tool for social change, and has expressed her strong anarcho-pacifist and feminist views in her paintings and collages.[1] Vaucher also uses surrealist styles and methods.
She continues to design sleeves for Babel Label, and also designed the sleeve for The Charlatans' Who We Touch album.[5] Vaucher has exhibited at the 96 Gillespie gallery in London. In 2007 and 2008 the Jack Hanley Gallery in San Francisco and Track 16 in Santa Monica ran exhibitions entitled "Gee Vaucher: Introspective", showing a wide selection of Vaucher's work.
The day after Donald Trump's election victory in November 2016, the British Daily Mirror newspaper featured Vaucher's 1989 painting Oh America on its front page.[6][7]
Published collections
In the foreword to her first book, a 1999 retrospective collection entitled Crass Art and Other Pre Post-Modernist Monsters, Ian Dury writes:
"In its original form, Gee's work is intricate and tactile, and while the imagery is sometimes almost overwhelming, the primary concerns are those of a painter; dealing with form and space. Mere newsprint would hardly do justice to its subtle tones. When the work is printed, the space becomes more simple and the graphic images take on a different life. The concerns are those of delivery, and the message is clear."
^"Gower Boy". Fourteenth Raindance Film Festival. Raindance. 1 October 2006. Archived from the original on 14 November 2006.{{cite web}}: CS1 maint: bot: original URL status unknown (link)
Bibliography
Crass Art and Other Pre Post-Modernist Monsters - A collection of work by Gee Vaucher (AK Press 1999)
Animal Rites: a pictorial study of relationships (Exitstencil Books, 2004)