Artist in Residence Program


Image: Bruno Grilo

Artist in Residence: (2015-16)

Every year the School of Art has a number of artists in residence.

The artists will contribute to some of the modules and students are able to arrange tutorials with individual artists.

See below for further information about past and current artists and relevant contact information.

Artist in Residence: (2015-16)


Dan Bowran

As an artist and audiovisual engineer, I have been working with sound and light as my materials of choice for many years.  It’s interesting how we conceptualise this ephemeral matter and create structures to work with them.  Our understanding is altered as we move from analogue to digital, from black and white to colour.  I have taken this methodology and adapted it to the physicality of glass.

The studio defines the boundaries, determining the possibilities and providing the structure to explore the innate properties glass.  In the same way as I would record a song for a band, it is a collaboration where I establish the dialogue and orchestrate the conditions for the glass to express itself.  This is illustrated by the fluid inner forms which inhabit thick, rigid outer shells – allowing the glass to become a mould for itself.

A Benetton rainbow complex
Glass, found objects, coldworked


Bruno Da Silva Grilo

Bruno Da Silva Grilo was born in Portugal in 1986 and lives and works in Birmingham. He gained a Visual Arts BA at the University of Algarve and an MA in Fine Art from the Birmingham City University, graduating in 2014. Grilo is currently Artist in Resident at the Wolverhampton School of Art, and Research Fellow for the Centre for Fine Art Research, Birmingham City University.

Phantasm, 2015


Neil Jones

The images aim to subvert that reading of photography, as the subjects represented in these works exist only in terms of computer code; their actions, postures and facial expressions are simulated, following a strictly predetermined and repetitive cycle. The pensive moments, the distracted gazes, the appearance of being lost in thought is all preprogrammed. These portraits are created in video game environments, rather than the real world. The subjects are incidental characters (non playable characters) who are designed to replicate the ordinariness of everyday life, often characterised through the execution of mundane tasks.

Initially printed in the form of inkjet prints these images are left to fade and decay. Through this transformative process these works begin to take on new forms and meanings, evoking a sense of loss or melancholy. But how exactly does the viewer mourn for a simulated entity, a pixelated phantasm? Perhaps what is piqued is a wider sense of loss, not the loss of others, but our own loss of self in a pluralist frenzy of digital automation and distribution.


Further Information:

Gareth Jukes

As A street photographer I photograph places that I feel seduced by. I pass through the city streets and am drawn to different people and places. I have gained a greater understanding of the different urban environments in which we live by working and travelling vastly and visiting many places around the world such as Paris, Amsterdam, London, Istanbul, Athens, Belfast, and Atlanta. My images show mundane everyday situations and events played out in the urban environment. The juxtaposition of elements within my work draws upon issues surrounding representation and advertising within the public spaces of the city.


Nikki Pugh

I locate my practice as being at the intersection of people, place, playfulness and technology. Instigating enquiry-led processes that are often participatory in nature, I’m primarily interested in issues around interaction: how we interact with spaces and landscapes; how we interact with each other; and how we interact with objects. Typically I will instigate a starting point and a mechanism to support exploration, discussion and criticism.

My practice encompasses locative and digital media, walking, performative actions in public spaces (in turn including pervasive games), installation, physical computing and collaboration.

I co-founded and worked extensively with BARG (pervasive games network) and fizzPOP (hackspace). As
founder of the Many & Varied collective, I am also currently working to establish networks, develop audiences and manage events to support an ecosystem of boundary-pushing, interdisciplinary, collaborative, creative projects.


Ann Kelcey

I am a ceramic and mixed media artist, operating from  my home studio/workshop in Shropshire. I set up my business – Kelcey Ceramics – after graduating from Hereford College of Arts with BA(Hons) Contemporary Applied Arts in 2008. Intending only to attend one module of Wolverhampton University’s BA ceramics course in 2009, I enrolled on their MA Art & Design Ceramics course – so much for good intentions! And now I’m back again!

The opportunities I was offered through the MA course were life (and work) changing. A three-month residency at the V&A Museum in the ceramics studio with other MA colleagues, introduced me to the idea of working in heritage settings. Participation in a European Research project, which was looking at Creativity & Craft Production in Middle and Late Bronze Age Europe (CinBA) culminated in the on-line CinBA Live exhbition ( – this led to an invitation to the CinBA Live ceramic artists to exhibit in the Santorini Bienalle of Arts 2012, which led to the first of many holiday destinations with my husband to places associated with the CinBA project.

re:collect’s post in Curiosities of the Collection


Meghan Allbright

Lives and works in Birmingham).
Recent exhibitions include group shows Trophy at LAB, Leeds (2012), Santorini International Biennale of the Arts, Greece (2012), Open Exhibition at Ort Gallery, Moseley (2012), The Wall, Hackney Studios, London (2012), Era, Budapest (2011), Allan 2, Budapest, (2011), and a Design Commission for the mac, Birmingham (2012). Forthcoming projects include a residency at The New Art Gallery Walsall, and a collaborative project at Downstairs Gallery in Herefordshire.



Artist in Residence: (2014-15)


David Gleeson

‘Tell all the truth but tell it slant,’ Emily Dickinson 

My work is representational and is mostly a slow and thoughtful process. All that I do is grounded in observation which I try to combine with ideas, symbols, narrative, conjecture… In my work I try to look again at the everyday, a world that is barely glimpsed and often overlooked.  There is a bit of mystery, alchemy even, in the craft of painting. Working for long periods on a piece creates an internal tension on one hand and silence on the other. A silence that makes the works immensely contemplative. I prefer there to be a story that is not fully explained. I like the idea that the viewer can complete the story. During the process of development I do a lot of putting in and taking out, so the narrative is constantly changing, which keeps me intrigued. 

For further information please visit:




Simon Francis

The subject matter of Simon’s two dimensional imagery is about what makes us human.  Our experience of opticality associates strongly with our emotions, memory, cognitive abilities and perceptions in a multi linked process.  Simon’s belief is that the image plays a role of initiating that process and also maintaining communication.
Memory is one human property that Simon finds intriguing.  Memories have a baggage of information and emotions which play a part in determining our values and behaviour.  They become ghosts in our present and we have a relationship with them whether we like it or not.  Simon has made one particular series of digital imagery which dwells upon that relationship.  The information is obscure, the perception confusing but general and intriguing enough that we can associate with the imagery even on a personal level.
For further information please visit:

 Jain McKaynew

Jain McKays

Jain McKays current practice dissects human behavior, looking at personal actions that reflect global actions, how behavior can seem individual but is totally predictable. How a narrative can be used to highlight common threads and engage people in conversations with the work.  Using autobiographical themes and disclosure this is expressed through a number of techniques including large drawings, books, interactions, interventions, web sites and events to play with and manipulate behavior in order for it to be exposed. 
Jain McKay Blog
Pumpkin Arts

 Artist in Residence: (2013-14)



Caroline Ali

Caroline is interested in drawing as a time-based event and as an act of creating material memory. Her core concern is with processes of observation and recording, along with the trace or evidence of these activities. In researching observation and drawing she has investigated a range of ideas, taking cognitive neuroscience, phenomenology, semiotics and memory as starting points.

Her current practice includes sequential drawing which inherently refers to the saccades (tiny movements) of the eye that are part of the process of vision. The sequencing of such drawings lends itself to exploration of the resultant imagery through stop frame animation. The complex experiential process of observing traces of past processes of drawing within the museum environment is examined through the anticipatory nature of drawn animation. The experience of drawing in the museum environment has been further explored through sound and presentation, crucial to the reception of the work and the attention of the viewer.

For further information see:

The project conducted with Fine Art students from Wolverhampton University see  the following blog page:


Ruth Robinson

R H Robinson is a progressive English artist and writer based in Birmingham, UK.  A professional freelance worker with a range of traditional fine art skills she produces paper constructions and writes essays and reports.  She also undertakes short-term commissions and residencies in the education, health, heritage and voluntary sectors where she provides consultation and art direction.

In response to culture-led regeneration my work contests the status and role of the creative within contemporary art practice and arts relationship to assumed audiences.  I aim to instigate debate via direct action and occupation.  Works vary from transitory projects to formal enquiries.  These activities intentionally operate in opposing spheres- anonymous places and established art spaces.  This dichotomy informs a critical observation of art and its systems and the pro-active research that is fundamental to my work.

Research and documentary led the site-specific outcome is commonly intervention, event and critical text.

For further information see: