After graduating from Brighton illustration course in 1995 Goodall began his illustration career with editorial work for magazines like Elle, ES, and Nova. His work slowly developed during this period, evolving and changing as he took my portfolio around London. When he knocked on the door of The Face magazine, he found the perfect home to express his distinctive pop look that came to influence a generation of young illustrators.


THE FACE Magazine 2001/2

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Way back at the turn of the millennium Jasper began to work with Graham Rounthwaite at the iconic Face Magazine. As well as being a talented art director, Graham was also an illustrator and had a strong idea of how a new look of illustration could be used in a fashion and culture magazine. He had had spreads published in The Face that took the place of what would have previously been fashion photography's domain, bringing a new edge to a streetwear fashion editorial. This lead to an advertising job for heavyweight brand Levis as well as Faberge's 'Fusion' perfume campaign alongside fellow illustrator Pete Fowler. For a brief period in the early noughties, illustration was being used in place of fashion photography. This created a great new buzz around illustration and helped catapult it to new levels of popularity — illustration became aspirational, chic and edgy for the first time in years.

Heavily influenced by photographic greats like Helmut Newton and Guy Bourdin, Jasper's work for The Face magazine came to epitomise the new attitude that he and his contemporaries were bringing to the illustration scene.


Working with the erotic

Goodall's childhood was set against the backdrop of seventies Feminism in South Birmingham. He attended a women's liberation playgroup which set out to change a generation of children in the hope to equalise (or even reverse) gender roles. Naturally the sexual objectification of women in media and advertising was something that was very much on the agenda as something to fight against so, as a teenager and young man sexual depictions of women were a strong taboo, and whilst very alluring, they also carried a stigma of 'wrongness.' In '99 Goodall's mother died and soon after his personal output radically changed. A part of him that had dared not express itself for fear of disapproval now came to the fore and he began to make strongly sexualised artwork. This artistic expression was to cause him an ongoing struggle with guilt — on the one hand he had a powerful rebel voice urging him to break childhood and societal taboo's, but on the other, there was always the voice of his feminist upbringing that he carried with him — he was adding to female objectification and promoting an unrealistic image of female sexuality. This never sat easy on his conscience and was a cause of much inner conflict and self criticism.

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