Having already judged at Cannes, D&AD, One Show and Clio, I was incredibly proud to have been invited to LIA this year.
So thank you Barbara, Patricia and Wayne.
I was in great company with a wonderfully smart jury—led by our rock-star Jury President, David Guerrero, who skilfully guided us through three days of intense judging.
Thankfully, there was some great work across the four categories we judged: Print, Poster, Billboard and Ambient.
And while we were challenged when it came to selecting a Grand LIA in Print, there was plenty to make us feel inspired, sick with envy and just insane with jealousy—with extra kudos going to truly insightful ideas that came out of leftfield.
As expected, the best work all passed the tried-and-true test of ‘Damn, I wish I had done that.’
Hands down though, my favourite piece this year was Fearless Girl—the little bronze statue on Wall Street.
Created for a financial firm to highlight gender diversity, the clever placement in front of the Charging Bull gave New York its biggest public art controversy in years.
It’s provocative, progressive and perfectly in-tune with culture.
It was a massive catalyst for conversation around the world, and its impact is still being felt.
Judging LIA is special.
Having already judged at Cannes, D&AD, One Show and Clio, I was incredibly proud to have been invited to LIA this year.
So thank you Barbara, Patricia and Wayne.
I was in great company with a wonderfully smart jury—led by our rock-star Jury President, David Guerrero, who skilfully guided us through three days of intense judging.
Thankfully, there was some great work across the four categories we judged: Print, Poster, Billboard and Ambient.
And while we were challenged when it came to selecting a Grand LIA in Print, there was plenty to make us feel inspired, sick with envy and just insane with jealousy—with extra kudos going to truly insightful ideas that came out of leftfield.
As expected, the best work all passed the tried-and-true test of ‘Damn, I wish I had done that.’
Hands down though, my favourite piece this year was Fearless Girl—the little bronze statue on Wall Street.
Created for a financial firm to highlight gender diversity, the clever placement in front of the Charging Bull gave New York its biggest public art controversy in years.
It’s provocative, progressive and perfectly in-tune with culture.
It was a massive catalyst for conversation around the world, and its impact is still being felt.
So kudos to the team.
Like I said: ‘Damn, I wish I had done that.’