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.
Here is a piece I am working on that incorporates this 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.
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.
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.
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 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.
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.
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:
Whitworth Wallis Artist in Residence
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!
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.
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.
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.
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.
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.
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.
In response to this piece I have experimented with creating my own screen prints focussing on the act of undressing.
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.
Whitworth Wallis Artist in Residence
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.
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 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.
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?
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.
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
Whitworth Wallis Artist in Residence
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:
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.
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:
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.
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:
The formality and style of some of these prints of Birmingham architecture is something I’d like to replicate in my drawing:
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.
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:
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.
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:
Sarah Taylor Silverwood,
Whitworth Wallis Artist in Residence
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.
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).
This detailed tree drawing was made by Henry Harris Lines in 1826 (son of Samuel 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.
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.
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!
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.
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
It is coming to the end of my first week as Artist in Residence at Birmingham Museum and Art Gallery. I’ve had a busy week moving into the studio and meeting many members of staff and public. I’ve also had a chance to immerse myself in the amazing art and museum collection. I’m here for a month and during that time I will be making a new piece of work inspired by the collections. I’m really enjoying working in the new studio space:
My work is mainly drawing based, and previously I’ve made drawings that are often reminiscent of comic books, maps or landscapes. You can find out more about my work here: www.sarahsilverwood.com.
You might have passed by and seen me working in the studio, which is in the Activity Zone. With a large glass wall I feel like a museum object myself! I like to see how the public are interacting with the art work in the galleries, so have been sketching as they walk by.
I often use historical ideas and themes in my work, especially in connection with the City of Birmingham, so a residency at BMAG is a great chance to make new work. I have got a lot of enthusiasm for working with narrative, and enjoy weaving some sort of storytelling aspect into my work. I spent some time in the Birmingham history galleries, discovering the importance of Birmingham’s industrial past. Helen from the Front of House team gave me a quick history of the gallery itself, explaining how it has changed over the past century. The studio wall is filling up with images like these:
I was particularly struck by a door from the old Debtor’s Prison in Birmingham, which I made a quick sketch of. It has a sign that reads, ‘Note the bars thro which charitable passers-by dropped coins to the inmates’.
Next week I’ll be spending some time at the Museum Collections Centre with History Curator Jo-Ann Curtis. It is an amazing place where many of the collections are stored. I’ll also be exploring some of the Fine Art collection with curator Victoria Osborne.
My studio is open to the public every Wednesday 1-4pm. I’ll also be posting on the blog every week. I will be running a free family drawing workshop on Saturday 12th October 1-3pm. We will be painting the walls and windows and decorating the studio with an amazing cityscape! Check the BMAG website for more information: http://www.bmag.org.uk/events?id=2918