The latest Ford spot sees Blinkink's Noah Harris curate a collection of 14 individual art pieces to craft a flavour of the zeitgeist for Ogilvy.

Let's face it - we've all seen a thousand car commercials and by and large they tend to follow the front, back, interior, pseudo-arty landscape formula. And while that might shift units from forecourts it's hardly a recipe for engaging creativity.

Fortunately Harris has thrown caution and the rulebook to the wind in his latest commercial for Ford. Teaming up with a panel of creative commentators drawn from across the media industry, Harris set about identifying key trends in visual culture as a starting point in defining a tangible zeitgeist. Working with a team that included people from Dazed and Confused and ES Magazine, Harris drew up a wish list of artists, filmmakers and motion graphics designers he wanted to work with on the project.

"The brief from Ogilvy was fairly open," Harris explains. "The basic concept was about defining the zeitgeist and having it represented on a stack of TVs travelling along a road. From there I started thinking about how to produce visuals that would be surprising and unexpected. The work needed to feel very now in terms of its tone but I thought it was key that the majority of stuff we were going to see should be created specifically for the spot and should feel fresh and new."

Cherry-picking a selection of the hottest artistic talent on the market - from designer Alexander Turvey to photographer Dan Tobin Smith and fellow Blinkink stable-mate Kristofer Strom - Harris sent out an invitation to numerous potential collaborators to gauge interest in the project.

"I love the process of collaborating with other people but it's not something I'd really had a chance to do with such scope before," elaborates Harris. "Once we'd hooked a group to work with we arranged a big shoot at Black Island Studios. We had one large art department and one shoot crew to work with across two large studios. We carved the space up into small lots for each of the artists to work in and shot about 30 completely different pieces over three days. It was like working in an amazing design factory - a totally unique experience."

To frame the various pieces Harris headed off to Berlin to shoot the stop-motion sequence of TV sets tumbling thorough a city. Enlisting the help of two DP's, Alex Barber and Toby Howell, Harris set about filming the core of the spot over 12 nights. "The main challenge was that we were trying to shoot long exposure stop-motion on location. At night. Without it raining. In Europe. In hindsight it was a pretty foolish undertaking," Harris laughs, "but somehow we pulled it off - albeit with a few fraught moments."

To complete the project, Harris hooked the FX talents of Artem and the post skills of the crew at Framestore to seamlessly blend the two elements of the project together. The finished spot can be seen this Friday on a TV screen near you.

To view the spot click here.

A selection of the work by collaborating artists can be seen by clicking the images below.