After more than two decades, Belfast finally welcomes home one of its most celebrated sons—artist and author Oliver Jeffers—with a groundbreaking exhibition that’s as thought-provoking as it is visually stunning. But here’s where it gets controversial: Jeffers’ latest collection, Disasters and Interventions, transforms serene landscapes into scenes of chaos, leaving viewers to question the balance between beauty and catastrophe. Is this a reflection of our unstable world, or a playful reminder of life’s fragility? Let’s dive in.
By Chris Page, BBC News Ireland Correspondent
For the first time in over 20 years, Oliver Jeffers is showcasing his work in his hometown of Belfast. Since his last exhibition here, he’s become a global phenomenon in children’s literature, with bestsellers like Lost and Found, How to Catch a Star, and Here We Are captivating families worldwide. With 18 million copies sold, Jeffers’ stories have become a staple in households, blending whimsy with profound messages.
But Disasters and Interventions takes a different turn. Jeffers has masterfully inserted his own imagery into vintage photographs, turning tranquil scenes into moments of disaster. Imagine an oil tanker capsized in a pristine lake, an airship crashing into the ocean while golfers remain oblivious, or a lone house struck by lightning. These aren’t just random acts of chaos—they’re carefully crafted to make you pause and think.
And this is the part most people miss: Jeffers revealed the project began with a discarded print he found in New York’s Chinatown. ‘It was decayed, but it had this amazing quality,’ he explains. What started as a personal experiment evolved into a 14-year exploration of instability and resilience. ‘It’s about provoking thought,’ he says. ‘Even in tragedy, there’s beauty and reason to reflect.’
Returning to Northern Ireland after years in the U.S., Jeffers admits he ‘absolutely loves being back.’ Growing up in Belfast, he knew early on he wanted to be an artist. ‘I was 15 when a careers adviser suggested art college,’ he recalls. ‘It was a lightbulb moment—I could make a living drawing!’ His transition into children’s books came later, driven by his natural talent for storytelling. ‘It’s about empathy and understanding your audience,’ he notes. ‘Kids are born creators—we just need to hold onto that as we grow.’
Reflecting on his journey since How to Catch a Star was published 21 years ago, Jeffers admits it’s ‘surreal.’ ‘Art is selfish, but in the best way,’ he says. ‘If you try to guess what people want, you’ll never innovate. Being yourself is the key.’
At the Naughton Gallery at Queen’s University, visitors will spot a familiar sight: the red rocket from How to Catch a Star, now crashed beside a lake in a piece titled Down on the Range. The reflection of the spaceship in the water is breathtaking—a testament to Jeffers’ ability to blend old and new. ‘It’s about bright colors colliding with faded ones,’ he explains. ‘The rocket just felt right.’
Here’s where it sparks debate: Several works feature the Titanic, but instead of sinking in the Atlantic, it’s depicted in deserts and glens. Is this a commentary on hubris, or a playful reimagining of history? Jeffers leaves it open to interpretation, a hallmark of his style.
Since returning to Northern Ireland, Jeffers has embraced the ‘slowness and sense of community’ he missed abroad. ‘It’s what I want for my family and myself,’ he says. He’s also inspired by the rising talent in the region. ‘There’s so much creativity here—it’s good to be part of it.’
As for the future? Jeffers plans to keep creating naturally. ‘More books, more art, and more observing,’ he says. ‘That’s where the magic happens.’
What do you think? Does Jeffers’ blend of beauty and disaster resonate with you? Is his work a mirror to our chaotic world, or a celebration of resilience? Share your thoughts in the comments—let’s keep the conversation going!
