Tag Archive | Artist in Residence

Artist in Residence Jodie Wingham – Week Four

My final week as Artist in Residence at the Museum is now over, the past month has gone so quickly, packed full of new sights, events and meeting new people. During my residency I have been researching pieces within the collections, this research will now be used to create a new piece for BMAG to go on display in January. Continuing with my own practice, interested in the act of looking, the residency has encouraged me to focus on the history behind ‘the gaze’ concerning Women and their image. This is something that became prominent during my research where many of the prints and drawings I looked at depicted women carrying out private acts, often within interior settings, documenting these for the viewer to enjoy. My progress and the ideas behind my new work and its development will be documented by the BMAG team in the coming weeks, please keep an eye out!

I have now moved out of my studio, a space I have made my own during my time here. Not only used as a space for my daily practice I have held workshops for the public and opened it every Wednesday afternoon for visitors to come in and see what I have been up to.

My studio space from outside

My studio space from the outside

Me inside my studio

Me inside my studio

Inside my studio

Inside my studio

Another view from inside my studio space

Another view from inside my studio space

On Friday the 17th of October I held one final printing drop in session, visitors were invited to take inspiration from the woodcut prints of Sir Edward Burne Jones I found in the collections and create their own Lino printed bookmarks.

Here is my own finished bookmark:

My own finished bookmark

My own finished bookmark

It was great fun to help others create something that they could take home and use, everybody enjoyed the Lino method of printing and made some great finished bookmarks.

People taking part in the booking making workshop

The booking making workshop

Two bookmarks produced during the workshop

Two bookmarks produced during the workshop

The public facing studio has provided me with a wonderful space suited to my practice, through the glass panel I was able to watch passers by enjoying their visit as well as watching them watch me work. I thought I would play with this idea of the watcher and the watched by covering the glass with semi opaque plastic with peep holes cut away.

Peep holes from the outside

Peep holes from the outside of the studio

I invited the audience to peep through these observing stations to view inside my studio and view myself, in the process photographing this action. It has encouraged me to question the act of looking within a gallery setting, where looking is actively encouraged. This is not limited to the artwork on display alone but it can also be a place to watch other visitors too! I became aware of this within an engraving called The Exhibition at the Royal Academy, 1787 engraved by Pierto Antonio Martini (from the painting by Johann Heinrich Ramberg), where the focus of the viewer is not purely on the gallery display but on the characters themselves within the exhibition.

The Exhibition at the Royal Academy, 1787, by Pierto Antonio Martini

The Exhibition at the Royal Academy, 1787, engraved by Pierto Antonio Martini

Thank you everyone who participated, here are some images of those who decided to have a peak:

People looking in two

Another person peaking through the whole

Another person peaking through the hole

I would like to work with these images further, the blurred outlines of the viewers interests me as you have to fill in the missing information. I have experimented with these few images digitally, as seen below, but I would like to eventually turn them into prints.

Digital experiment

Digital experiment

Looking through the peep holes visitors could observe me inside my studio:

From outside looking in

From outside looking into the studio

I keep returning to this circular shape to frame my images, over the coming weeks I will explore how I can create a sculptural structure that forms this shape on which I hope to print upon. For now, here are some previous experiments into this form:

Circular form experiments

Circular form experiments

Finally I want to thank all the staff at BMAG who have given their time generously to view works, arrange events and help me to develop my ideas for this residency to produce a new commission for the Museum. I can’t wait to get started and look forward to its completion.

Jodie Wingham,
Whitworth Wallis Artist in Residence

Artist in Residence Jodie Wingham – Week Three

It is my third week at the Museum, and it has been a busy one before I leave on the 17th of October. This week I visited the Museum Collections Centre in Duddeston, home to all the objects not currently on site at Museums across Birmingham, I ran a ‘Big Print’ workshop on the 4th of October in my studio as one of many activities taking place within the Museum as part of Fun Palaces, and I have been working on my ideas for the Final work.

During my time at the Museum I have been carrying out research into pieces held at the Museum to generate a new piece of work in response to what I have seen. Taking inspiration from artists such as Hans Sebald Beham and Helen Chadwick who have used a circular shape within their work, I have been playing with this circular form as a basis to my work. When looking at these artists I became aware of the effect the circular form had on me as a viewer, the shape draws your attention into the image having associations with an old fashioned peep hole of which to view others through.

Vanity by Helen Chadwick

Vanity by Helen Chadwick
© The Helen Chadwick Estate, Courtesy of the Zelda Cheatle Gallery, London

Here is a piece I am working on that incorporates this circular frame:

Jodie's work in progress

My work in progress incorporating a circular frame

I have been playing with the use of coiled newsprint paper to form a circular surface on which to screen print upon, I am interested in the distortion of imagery to create a closer inspection from the viewer. During my residency I have seen many images that observe women carrying out certain actions from bathing to changing to sleeping, all private and quite intimate acts however, they are on display for us to observe. It is the subject of women and their image which I think I will focus on as the basis to my piece.

Jodie's work in progress

My artwork using a coiled newsprint paper

I wanted to learn more about how other artists have used photography within their work to stage certain acts and how they use technology to distort the images they work with. Two artists that do this are Mohammed Bourouissa and Semyon Faibisovich, artists who have pieces held at the Museum Collections Centre (MCC). It was a great opportunity to view the pieces in person and see the techniques used by the artists.

Semyon Faibisovich’s images examine contemporary urban life in his home town of Moscow and particularly the lives of those at the bottom of the social ladder. Using a mobile phone, Faibisovich takes photographs of people on the streets and uses these low resolution images to make his oil paintings, enlarging the images to life size and then painting over the image creating pixelated distortions. This was clear when up close to the works entitled Repose, from At the Stop series, 2009 and Sick on the Way?, 2008 from the same series.

Repose by Semyon Faibisovich

Repose © Semyon Faibisovich

Close up of Repose by Semyon Faibisovich

Close up of Repose by Semyon Faibisovich

Sick on the Way? by Semyon Faibosovich

Sick on the Way? and close up of the artwork (right) © Semyon Faibosovich

Mohammed Bourouissa is an Algerian photographer who uses staged photography to create images that appear real, often depicting moments of physical or emotional tension through the careful arrangement of people and their gestures. They leave you questioning what has happened in the image or what will happen, I like the suspense he creates leaving you wanting more. I saw La rencontre (The Meeting) and Le toit (The Roof), 2005-2007 during my visit to the MCC and both looked at this tension between the characters depicted.

La rencontre (The Meeting) by Mohammed Bourouissa

La rencontre (The Meeting) © Mohammed Bourouissa

Le toit (The Roof) by Mohammed Bourouissa

Le toit (The Roof) © Mohammed Bourouissa

After viewing these specific pieces I spent the rest of my time exploring the vast number of objects and works stored within the centre, it is very easy to get carried away! These are just some of the things I came across:

The butterfly collection at the Museum Collections Centre

The butterfly collection at the Museum Collections Centre

The Museum Collections Centre (MCC) has a huge natural history collection, with examples of taxidermy ranging from delicate butterflies to a brown bear! Although not relevant to my practical work it was fascinating to see such an array of animals dating back from the 1800’s.

The MCC holds open afternoons for the public on the last Friday of every month and are open for pre-arranged tours and study days, for more information or to make a booking visit: www.bmag.org.uk/Museum-collections-centre.

Display at the Museum Collections Centre

Bottle display at the Museum Collections Centre

Oliver Cromwell's Death Mask

Oliver Cromwell’s Death Mask at the Museum Collections Centre

Finally, thank you to everyone who came to ‘The Big Print’ drop in session to have a taster of what you can achieve through printmaking. From 11-4pm the studio was full of people experimenting with polystyrene prints and mono printing, some fantastic work was made which people could take home or add to the ‘Big Print’ wall in my studio to remain till the end of my residency.

The Big Print poster

The Big Print poster at Birmingham Museum and Art Gallery (BMAG)

The ‘Big Print’ wall in the activity zone studio

The ‘Big Print’ wall in the activity zone studio at BMAG

Some examples of work made on the day

Examples of prints created in the session

A print made during the 'Big Print'

A print made during the ‘Big Print’ workshop

Next week will be my final as artist in residence at BMAG, it has gone so quickly! I am keen to hold one last printing workshop, this time with adults, taking place on Friday the 17th of October between 12.30-2.30pm. We will be making bookmarks inspired by Edward Burne-Jones intricate woodblock patterns I came across in the collections using a Lino print.

Here is one of Edward Burne-Jones’s designs in the collection originally made for the boarder of a book to get you started:

One of Edward Burne-Jones’s designs

One of Edward Burne-Jones’s designs

Jodie Wingham,
Whitworth Wallis Artist in Residence

Artist in Residence Jodie Wingham – Week Two 

It is coming to the end of my second week here at the Museum and half way through my residency. I have managed to do and see a great deal inside and outside the studio, I’m really enjoying the fast pace of being right in the midst of the gallery meeting visitors, viewing new pieces and trying new things.

On Saturday the 27th September I ran a print making session with the Art class held at the Museum, for children aged 6-11. It was great to show the children all the exciting possibilities of print and see them enjoying the processes, making great finished pieces. We tried three techniques, mono print, a type of Lino print using polystyrene tiles instead of thick Lino and Foilography. Here are some examples of both the children’s and the parent’s pieces who seemed to enjoy it too!



Polystrene Print

Polystrene Print



For the second time I visited the print and drawing collections held at the Museum with Fine Art curator Victoria Osbourne. On this occasion I asked to view pieces that focused on the act of observing, I tried to narrow my research upon certain pieces that document an act or tell a particular narrative. I also wanted to look at examples of printing techniques used by artists and how different print methods produce differing images.

Inside the collection

Inside the collection


My research

I saw a variety of works by Frederick Sandys who was an English Pre-Raphaelite painter, illustrator and draughtsman (1829-1904). Within the collection there are a few of his wood engravings that depict people watching over others. I love his piece entitled The Sailor’s Bride, the image was originally created to illustrate a poem by Marian James. The piece depicts a grieving man who turns up too late, arriving once his beloved has passed away.

The Sailor’s Bride by Frederick Sandys

The Sailor’s Bride by Frederick Sandys

Victoria showed me the uncut wood block with Sandys drawing upon, once Sandys had drawn his design onto the block he would give it to W.H Hooper to engrave. It was unusual to see the block as an object itself and gain a sense of how the process works.

Back of wooden block

Back of wooden block

This is another of Frederick Sandys wood engravings called Sleep (1863), the tender gaze between the two characters intensifies the melancholic tone of the image which again focuses on death.

Sleep by Frederick Sandys

Sleep by Frederick Sandys (1863)

These prints are by Edward Burne-Jones, they are wood engravings and tell the story of Psyche and Cupid. The myth tells of the tasks Psyche had to pass so she could be with her true love Cupid. The images are less detailed compared with Sandy’s engravings but I like the use of bold lines that suggest depth and movement.

Psyche and Cupid by Edward Burne Jones

Psyche and Cupid by Edward Burne-Jones

Finally, one of my favourite prints within the collection is a drypoint etching called Changing by Laura Knight (1926). The subject matter of a woman being observed changing relates to my own interests in documenting those unaware they are being watched, the very personal act of undressing is captured beautifully through the etching process.

Changing by Laura Knight (1926)

Changing by Laura Knight (1926)

In response to this piece I have experimented with creating my own screen prints focussing on the act of undressing.

screen printing experiments

My screen printing experiments

Next week I am visiting the Museum and Collections Centre with Modern and Contemporary Art Curator Lisa Beauchamp, I will be looking at staged photographical works by Mohamed Bourouissa and paintings by Semyon Faibisovich. Both artists create works that observe the general public using new technologies to capture these characters and situations that unfold.

Come and take a closer look at my work on Wednesday afternoons in my studio, situated in the activity zone, between 1pm – 3pm. Feel free to pop in and ask me about what I am researching or working on as I am keen to talk to visitors to hear their opinions on voyeurism and the act of looking when in the gallery.

Jodie Wingham,
Whitworth Wallis Artist in Residence

Artist in Residence Jodie Wingham – Week One

It’s been a busy first week as Whitworth Wallis Artist in Residence at Birmingham Museum and Art Gallery, I’ve been moving into my studio, viewing the collections and meeting many members of staff and visitors. My studio is situated in the activity zone on level two, the space itself really suits my practice of observing others although, with the large glass wall I can now be easily observed too sometimes feeling like an artwork myself.

Looking into my studio

Looking into my studio (the Activity Zone at Birmingham Museum and Art Gallery)

Inside my studio space

Inside my studio space

For the next four weeks I am going to be researching, gathering images and experimenting with ideas to make a new piece of work inspired by the collections held at the Museum. I have already had the chance to engage with the vast collection of prints, drawings and paintings held at the Museum and can’t wait for another visit.

My previous work

My previous work

My work focuses on the act looking, I like to make pieces that question the viewers participation in this act of observing others becoming aware of our own nosiness when it comes to viewing what people are doing. I stage photographs of people within interior spaces carrying out their everyday actions and turn these into screen prints upon sculptural steel structures that playfully distort the image further making the viewer work to see what is happening.

The view outside my window

The view outside my studio window at Birmingham Museum and Art Gallery

Observational work

Observational work

During the residency I am keen to look at how people interact with the artwork on display as well as each other within the gallery and how they engage in the act of looking. I have been working with some images taken from inside my studio of visitors as they walk or sit outside the glass wall. Here are two quick pieces (see images above) combining digital prints, ink and pencil, can you see the figures?

Asphalt 1 by Christiane Baumgartner

Asphalt 1 by Christiane Baumgartner

The images are formed of many horizontal lines similar to contemporary printmaker Christiane Baumgartner’s woodcuts entitled Asphalt 1 and 2, which are currently held in the Museum’s collection. I went to see these pieces with Modern and Contemporary Art Curator Lisa Beauchamp, it was great to get up close to see the time consuming technique which Baumgartner uses to capture quite mundane landscapes.

The Woman’s Bath (1530)

The Woman’s Bath (1530)

I have a keen interest in printmaking of all kinds always wanting to learn more and try out new things, this week I have visited the huge print and drawing collection at the Museum with curator of Fine Art Victoria Osbourne. One of the pieces in the collection that struck me was a wood cut by Hans Sebald Beham entitled The Woman’s Bath (1530). The piece shows the private act of women bathing being captured by the artist for the viewer to enjoy, what I liked was the circular shape of the print which makes you want to look closer drawing in your attention.

Next week I will be spending more time researching drawings from the collection that have a narrative, I am interested in those moments where an event between people has been captured by the artist, leaving the viewer to guess what has happened or possibly what will happen next.

My studio is open to the public every Wednesday 1-3pm, feel free to pop in and see what I have been up to. This will also be posted on the blog at the end of every week.

On the 4th of October I will be holding a free print workshop called ‘The Big Print’ between 11am-1pm and 2-4pm. This is part of Fun Palaces, a scheme of cultural events for all to join in across Birmingham – participating venues include the Birmingham Museum and Art Gallery, the REP and The Pen Museum. We will be trying a variety of prints that you can take away on the day, open for all ages. More information can be found on the Birmingham Museum and Art Gallery website: http://www.bmag.org.uk/events?id=3422

Jodie Wingham,
Whitworth Wallis Artist in Residence

Artist in Residence Sarah Taylor Silverwood – Week 4

I have spent the last month researching the collections during my residency here. I have now finished at Birmingham Museum and Art Gallery (BMAG) and moved back into my studio. I’ll be channelling these ideas into a new commission for BMAG for January. The residency has encouraged a new direction for my work, where my public facing studio encouraged conversations and interactions with staff and the public. These daily conversations have fed into my artistic process and encouraged me to rethink my relationship with ‘the gallery’, and the editing process that I go through while making work. It has also given me an insight into the direct art historical context of the materials I use, and how drawing and works on paper have been used.

The studio itself has been a significant influence on how I’ve been working.

The studio space at Birmingham Museum and Art Gallery

The studio space at Birmingham Museum and Art Gallery

The view looks out onto Victoria Square and Town Hall.

The view from studio looking onto Victoria Square and Town Hall

The space has been used for both workshops with the public and my daily studio practice.

The mirror within the studio with illustrations on it

Sarah's illustration

Maps and postcards of Birmingham

These sketches are the beginning of the exploration into my new work, which evoke familiar motifs of journeys, place, and landscape.

Sketch of people

Sketch of the clock tower at Birmingham Museum

Sketch of museum assistants from 1900s

A collection of Sarah's sketches

During my time here, I have looked at a huge range of landscapes and topographical views in the collection. I also spent some time with photographer David Rowan, who showed me the work he had done documenting the view from the roof of the building, and also how the roof and dome at BMAG have gradually been restored. This has pushed me to think more about the importance of viewpoints within a changing city.

I keep coming back to this painting within the collection, titled ‘Birmingham from the Dome of St. Philips Church’, painted by Samuel Lines in 1821 (the church is now a cathedral).

Birmingham from the Dome of St. Philips Church by Samuel Lines, 1821

It was made from the dome, which is inaccessible to the public now. The dome was then the highest point in the town, and still seems very high – it is said to be the same level as the cross on St Paul’s Cathedral in London. It is a fascinating perspective on the city and I was captivated by the idea of recreating this view today.

The Dome of St. Philips Cathedral today

This week I met with Catherine Ogle (Dean of Birmingham) and Rob Hands (Head Verger at St Philip’s). Rob and I climbed the precarious tower to the top of the dome, then compared the views. Thanks to a compass and a selection of historical maps, I worked out the angle from which Samuel Lines created his painting. The original painting was made pointing southwest – I overlaid old and new maps to give a rough idea of the angle.

I will be spending the coming weeks exploring the idea of this view, or ‘prospect’, and its historical and cultural significance. The BMAG team will be documenting my new commission and its development. For now, here is a view of the clock from inside the tower and the gravestone of Samuel Lines himself, in the graveyard of the Cathedral.

Inside the clock in the dome of St. Philips Cathedral

Gravestone of Samuel Lines

I’d also like to add a huge thank you to all the staff at BMAG who have been generous with their time and resources to help me develop this residency and commission.

Sarah Taylor Silverwood,
Whitworth Wallis Artist in Residence

Artist in Residence Sarah Taylor Silverwood – Week 3

This week I have been to the Museum Collections Centre, I’ve been taking photographs on the roof of the gallery, and I ran a ‘Big Buildings’ drawing workshop. It has been really busy but full of inspiration and I’ve made a start of the final work I’m producing for the residency.

I want to produce a view of Birmingham inspired by some of the topographical views in the collection. When looking through these works, I have been trying to work out what angle they are taken from. It is difficult to find a good viewpoint (often people use a bit of artistic license to get what they want in) so I have been trying to find the perfect spot to draw from. The new Library of Birmingham has some fantastic views, so I climbed to the 9th floor to see what part of the landscape I could get in:

View from the new Library of Birmingham

It wasn’t quite the right angle, and I wanted to get something that looked out from BMAG if possible. The BMAG security team took me up onto the roof of the gallery. The views are incredible, especially looking back at the library – you can see the tiny figures in the roof garden.

View of new Library of Birmingham

The roof space above Birmingham Museum and Art Gallery

Alongside finding the right viewpoint I wanted to explore more of the work in the collection so spent a day at the Museum Collections Centre (MCC). It is a treasure trove of incredible things, from buttons to computers:

Buttons from the collections

An old computer at the Museum Collections Centre

I am particularly interested in the work of Samuel Lines, so Jo-Ann Curtis (Curator) showed me this sketch done in preparation for making the painting below. It seems much less restrained than some of the more finished pieces.

Samuel Lines sketch of Birmingham from the Dome of St Philip

Samuel Lines painting of Birmingham from the Dome of St Philip

Henry Harris Lines, eldest son of Samuel Lines, is a brilliant draughtsman and also uses Birmingham as the subject for his work.  These two pieces depict the city which is very different from today but still holds some recognisable features:

Henry Harris Lines sketch of Birmingham

Henry Harris Lines sketch of Birmingham

The formality and style of some of these prints of Birmingham architecture is something I’d like to replicate in my drawing:

Prints of St Pauls Chapel and the Free Grammar School, Birmingham

Print of the Free Grammar School, Birmingham

Finally I asked if we could look at some trade cards used by Birmingham based industries. They are beautiful objects in themselves, each full of intricate detail and typography. The importance of industry to Birmingham’s heritage is something I’d like to bring in to the new work. Thanks to Jo-Ann for a great day exploring the collections at MCC.

Trade card for portable gas stoves

Finally, thank you to everyone who came to the Big Buildings Workshop on Saturday 12th October! We had over 100 visitors in 2 hours and they created some beautiful artworks. Below are a few photos of the giant window landscapes:

Children drawing on the giant window at the workshop

The big buildings workshop giant window

Looking out of the giant window

Drawing of a building on the giant window

A drawing of a church on the giant window

Drawings of buildings on the giant window

Sarah inside the giant window landscape

And people also made their own big buildings to take home. Maisy Kate Neal made a drawing of the Council House and Art Gallery, and then collaged over it.

Collage of Birmingham Council House

Building collages made by children at the workshop

This is my final week at BMAG. On Wednesday I am running a final Open Studio from 1-4pm. Come and find out more about the Artist in Residence programme and the new artwork I am making. Also there is an opportunity to be a part of my new work. I am asking members of the public if I can photograph them to draw from. Thanks to all the members of the public who came to be photographed last week, this is Shengwei posing for hers:

Shengwei standing inside the giant window landscape

Sarah Taylor Silverwood,
Whitworth Wallis Artist in Residence

Artist in Residence Sarah Taylor Silverwood – Week 2

It has been a really busy second week and I’ve been meeting many members of the public and staff here. On Wednesday afternoons I have an open studio, and last week lots of people came in to see the work I’m making and chat about what they have been doing in the gallery. It has been fascinating to be right in the midst of the ebb and flow of the gallery.

I had a meeting with Curator Victoria Osborne this week, and she showed me a selection of works from BMAG’s incredible stores.

An archival box from the art stores

Sarah's written notes and artwork from the stores

I have tried to be quite focussed with my research as it is easy to get carried away with the vast collection! I want to spend some time looking at landscapes, works on paper, drawing, technique, Birmingham-related landscapes and objects connected with Birmingham’s industrial heritage. The works that Victoria showed me were mainly drawings or prints on paper. There is nothing quite like seeing the works unframed. It was particularly interesting to investigate the sorts of paper used and see inscriptions on the back of drawings.

I saw a variety of works by Samuel Lines (1778-1863), a significant artist who focussed many of his works on the Birmingham Landscape. Many of his drawings depict the (very different!) 19th century landscape of Birmingham. This drawing is called View from No 3 Temple Row West (presumable from his home which was on Temple Row).

View from No 3 Temple Row West by Samuel Lines

This detailed tree drawing was made by Henry Harris Lines in 1826 (son of Samuel Lines).

Drawing of a tree by Henry Harris Lines

I love this piece made by Birmingham artist Alice Barnwell. She has used two different shades of ink to distinguish the foreground and background.

Drawing of trees by Alice Barnwell

This print depicts the Hall of Memory (another Alice Barnwell). Victoria explained how they acquired two of this particular print because one of them had a written inscription but was not as good quality as this one.

Print of the Hall of Memory by Alice Barnwell

Finally, one of my favourite things I have seen here is a book of drawings that were done by Jocelyn Gaskin as a child. These beautiful, lively drawings were all made when she was about 9 years old, around 100 years ago. As a big comic book fan myself, it was great to see some comic-like drawings in the collection!

Drawing by Jocelyn Gaskin of her father playing golf

Drawing of a child by Jocelyn Gaskin

Drawing of a teacher by Jocelyn Gaskin

Drawing of a man holding flowers by Jocelyn Gaskin

Finally here are a few books I’ve been looking at ready for a visit to the Museum Collections Centre with history Curator Jo-Ann Curtis next week. I’ll be looking at works by Alan Edward Everett, Frank Lockwood, Arthur Lockwood and Samuel Lines.

Open books

Come and take a closer look at my work every Wednesday (until 16th Oct) at my open studio sessions in the Activity Zone between 1pm and 4pm.  I will also be running a free family drawing workshop on Saturday 12th October from 1pm – 3pm. Visit the BMAG website for more information: http://www.bmag.org.uk/events?id=2918

Sarah Taylor Silverwood,
Whitworth Wallis Artist in Residence