(News) Secret Missions for Families-in-Residence!

Top secret missions involving invisible ink and spy surveillance have been taking place all over Swindon, as part of our Families-in-Residence programme!

We’ve recently established the Families-in-Residence programme, in collaboration with Scrapstore Swindon, to help families across Swindon get involved in creative activities at home.

In June we put a call out for families to join us and we were delighted with the huge response! We’ve now got families of various shapes, sizes and ages, across Swindon, taking part in weekly Art Missions, from finger-print painting to creating art outdoors! They’re also helping us test our huge range of free learning and activity resources inspired by Swindon’s Collection of Modern British Art.

The levels of enthusiasm and creativity amongst our families are infectious, and we’re enjoying watching the formation of one giant, supportive Art on Tour family! Thanks to all our wonderful families for throwing themselves in at the deep end! We hope that their creative adventures will inspire others across Swindon and will help us to further develop our families programme. Our eventual aim is world domination – we’d like to get every family in Swindon creating!

In the Maclaughlin family, three generations of family members are taking part! We asked them why this programme was so important: ‘Three generations of us have grown up visiting Swindon Museum and Art Gallery and we are loving being involved in this project. Lockdown has been difficult as we’ve been shielding, and this is a great way to do something positive and to spend quality time as a family making memories. We love Swindon and it’s great learning about local artists and history, giving back, and being involved in the community.’

We would like to extend huge thanks to our partners, Swindon Children’s Scrapstore, who have provided all our families with Art Discovery Boxes full of resources to kickstart creativity. Scrapstore is a community resource centre and social enterprise which has been providing low cost environmentally-friendly resources for use in educational and recreational play, for over 35 years. Over 50,000 people in Swindon now benefit from their projects and services each year. Projects include the Creative Scrap Resources project, an Arts & Crafts shop, a Community Re-Paint Scheme, a Re-use Office Furniture project, an I.T refurbishing project, a Foodbank, and Scrappers Community Gym. Funding from the Wiltshire and Swindon Community Foundation has allowed Scrapstore to develop the Resources Boxes.

Look out for some amazing creations from our families-in-residence on social media and on our blog this summer! For more information on the project, visit our Families-in-Residence page.

Mags Parker, Learning Officer

(Blogpost) Borlase Smart: Drenched in Talent

Borlase Smart, ‘Ebb-tide on the Reef’, 1943, Oil and tempera on canvas, 101.6 x 129.5cm (c) Brian Smart, Currently on exhibition at the Civic Offices

This week Art on Tour has been focusing on artworks relating to the element of water. After all it’s National Marine Week and we just love to find links between art and… well… Just about any topic going!

So this week’s episode of the Art Snaps Podcast explores two nautical-themed still lifes in the collection by two great names of British painting, Christopher Wood and John Nash, and ends with a look at Nana Shiomi’s stunning contemporary Japanese print ‘Waves’.

However there wasn’t quite enough time to discuss another fantastic piece about water in Swindon’s collection; Borlase Smart’s Ebb-tide on the Reef (1943). And it really is about just that… water. Rushing, crashing, rippling, splashing water…

It’s a brilliant painting which is full of energy and movement, painted by an artist who lived near to, and closely observed water for most of his career. Borlase Smart moved to St Ives in 1919, aged 29, where he lived in a loft overlooking Porthemor Beach. Over the following decades he established himself as a talented painter of seascapes, even writing a book ‘The Technique of Seascape Painting’ in 1934.

He also became an invaluable member of the growing artistic community in St Ives, encouraging the likes of Barbara Hepworth, Ben Nicholson and Peter Lanyon with what were, at the time, ground-breaking practices. As Secretary of the St Ives Society of Artists from 1934-47, Smart organised exhibitions of work by important St Ives-based artists, and has often been credited with making the name of St Ives famous the world over.

Ebb-tide on the Reef was purchased from Smart in 1946, after he opened an exhibition of works by St Ives Artists right here in Swindon. Records show that he sold it at a concession to Swindon Museum and Art Gallery to show his appreciation for the kindnesses shown to him during his visit.

He also felt that Swindon had a future as an important centre for the Arts. I certainly hope he would be thrilled to see that Swindon’s art collection has expanded significantly since it started out in the mid 1940s, and includes work by several important artists associated with St Ives, including Terry Frost, Roger Hilton and the aforementioned Ben Nicholson.

Ebb-tide on the Reef depicts an Atlantic reef of rocks called Codgy, located one mile from his studio where, according to the artist, the waves were biggest. It’s one of four pictures Smart painted of this spot which were exhibited at the RA in 1943, and he described it as one of his “best sea pictures”.

When I read this I realised that, as familiar as I am with Swindon’s painting, I’ve never actually taken the time to look at other paintings by Borlase Smart. A quick visit to Art UK revealed his gift for capturing light and movement through water. Morning Light, St Ives (1922) at the Royal Cornwall Museum has an incredible luminosity about it, and shows the artist’s close observation of the reflections of light bouncing off the surfaces of the water and wet rocks.  

A later piece River Scene, Scotland (c.1938) at New County Hall, Truro, is much darker and almost foreboding with its rushing white undulations on top of a dark mass of water. However closer inspection reveals blues, greens and orangey browns which capture the nuances of colours beneath the surface.

Swindon’s work Ebb-tide on the Reef is a later piece in Smart’s oeuvre, and seems even more charged with energy than Morning Light and River Scene. It’s almost an immersive experience. The rushing water on the large canvas is pushed right up into our space. If we were there, the water would be splashing our faces and drenching our feet. I don’t think I’m over exaggerating to say that you can almost hear the noise of the crashing waves, and taste the sea salt.

By this time, Smart had been paying close attention to the dynamism of water for several years. We can see how, with his trained eye and artistic skill, he has boldly captured the reflections of light and variety movements, with the great energy and painterly expression of someone who knows and appreciates the stuff of water.

Blogpost by Katie Ackrill

(Blogpost) Exploring ‘Refugee’ by Kathleen Williams

Kathleen Williams, ‘The Refugee’ , 1943 (c) Swindon Art Gallery; Supplied by The Public Catalogue Foundation

This week Art on Tour decided to explore portraits from Swindon’s art collection, and it didn’t take us long to discover that there are… well… rather a lot of them. This isn’t surprising, given that portraiture is one of the most enduring themes in British art; from those famous bull-like images of Henry VIII, to the revolutionary romanticism of Thomas Gainsborough.  

I could sit here all day talking about famous portraits and portraitists of the past, so rich is British history with images of people… powerful, pompous, poverty-stricken and everything in between. But today I just want to talk about one very special portrait from Swindon’s collection.

This particular piece isn’t notable as a groundbreaking piece of modern painting, as other pieces in the collection are. Nor is it by a famous “name” in our great canon of British art. In fact, we don’t know very much about ‘Refugee’ at all, other than it was painted in 1943 by Kathleen Williams, who lived between 1911-1997 and was a successful portrait painter in Bath.

Yet ‘Refugee’ has been one of my favourite portraits from Swindon’s collection since I can remember, and I can’t let Art on Tour’s celebration of portraiture pass by without drawing attention to it. So in the absence of concrete facts, I want to think about the portrait in terms of my individual reasons for loving it (sometimes it’s nice to just think about why you like something) and also what can be deduced from the little information we do have about it.  

So what makes me respond so strongly to this particular portrait? Partly because of how it is painted. Williams makes use of a very limited, “no thrills” colour palette of black, beige and a little pink, but this only enhances my awareness of the incredibly sensitive way she has painted the sitter. Using soft, fluid brushstrokes, she captures touching details such as the slight flush in her cheeks, and light wisps of hair. She also very beautifully depicts the subtle play of light and shadow on the sitters face.

There’s no doubt about it… Kathleen Williams sure can paint a portrait.

But who is the sitter? That, I’m afraid, remains a mystery. Luckily for us though, the title and the date do provide us with a bit of information. In the context of the Second World War this portrait of a refugee seems to signify displacement and loss, and this is further suggested by her jet black clothes and their associations with mourning.

It also seems that Williams has captured something like sadness and resignation in the sitter’s eyes, and there is something quite psychologically intense about the way she looks out to us. I’d argue that in the absence of any other information provided by the artist, this unforgettable gaze makes us wonder all the more about the experiences of this anonymous refugee.

‘Refugee’ is currently on show at Swindon’s Civic Offices as part of the Art on Tour programme. Sadly it isn’t available to view at the moment due to Covid-19, so hopefully this blogpost has provided an interesting alternative to seeing the work “in the flesh” for the time being!

Quick plug to finish with – If you enjoyed this, and want more of the same, why not have a listen to Episode 18 of our Art Snaps podcast ‘About Face’, which explores more wonderful portraits from the Swindon Collection –Available Here.

Blogpost by Katie Ackrill

(Blogpost) Rose Russell and DYSTOPIA

Rose Russell, ‘Covid’

To mask up, or not mask up? Two metres, or one metre plus? Risk going to the pub? Go shopping? Hmm, maybe next week… There’s no doubt that the world is full of questions we never thought we’d be asking ourselves. One thing we can all agree on though… These sure are strange times.

It’s therefore perfectly apt that Art on Tour’s Young Photographer, Rose Russell, explores themes of dystopia and fantasy in her manipulated digital imagery. So we thought we’d spend the week sharing some scarily good photographs by this talented New College student, which re-imagine artworks in Swindon’s collection.

The first haunting piece is inspired by Marguerite Horner’s painting ‘Walled in by Feelings’ which explores themes of transience, intimacy, loss and hope. The second spellbinding photo is influenced by David Breuer-Weil’s ‘Bound’, a drawing which, when viewed in the context of the times we’re living in, seems to reflect the anxieties associated with ingestion and exposure. 

In discussing her work, Rose also refers to fairy tales and mythical beings in a seemingly every day setting:

The work displayed is from my mythical series, which I started while studying photography in college and recently decided to expand. I love this series because it is breaking the boundaries of normal life, creating these surreal images depicting mermaids and witches in a seemingly normal setting. As an artist I really enjoy manipulating my images in Photoshop, I feel that it is a great way to expand my creativity and make my imagination come to life. As a child I liked fairy tales and the idea of mystical and magical beings hiding in our normal world. As a young adult I wanted this fantasy to come to life for my childhood self.

In her most recent photograph ‘Covid’ (top), Rose directly responds to the worry many people are experiencing in relation to the Covid-19 pandemic. Using photo-manipulation, the work speaks of the experience of trying to outrun a powerful and harmful force.

Before rounding off, we want to say a huge thank you to Rose for sticking with us in these tough times, creating these fantastic images in response to Swindon’s collection and the current crisis, and using this as a valued opportunity to expand her practice.

If you want to see more from Rose, you can follow her on Facebook @rose_r_photography or Instagram @rose_photography_business. To take a look at her full portfolio you can also visit https://roserussellphotogr.wixsite.com/rosephotography/portfolio.

Blogpost by Katie Ackrill

(News) ‘Big Hitters’ Virtual Exhibition Launched

Edward Wadsworth, ‘Bright Intervals’

Okay, so ‘Art on Tour’ can’t take credit for this one, but we couldn’t let this fantastic news go unmentioned, as Swindon Museum and Art Gallery is now able to offer another fabulous way for all the art lovers and culture vultures out there to experience the art collection online!

‘Big Hitters’ is an exciting virtual exhibition which brings together just shy of 30 artworks from the collection, which represent some of the most significant names in modern British art. The exhibition is available through Art UK, the online home of the nation’s public art collections, and has been developed with their exciting new curation tool.

You can check it out here – https://artuk.org/discover/curations/big-hitters-significant-artists-in-the-swindon-collection/template/storyline.

The exhibition was curated by the committee of the Friends of Swindon Museum and Art Gallery, a charity dedicated to promoting and fundraising for (you guessed it) Swindon Museum and Art Gallery. Linda Kasmaty is the fabulous chair of the Friends, and this is what she had to say about the exhibition:

“When we were asked if the Friends’ committee would like to mount a virtual exhibition, we thought what a fantastic way of getting the collection shown to a wider, online audience… We’re hoping this exhibition will complement the ‘Art on Tour’ initiative which has been a tremendous success, connecting with many people, both those familiar with the Swindon collection, and those who did not know Swindon had such a collection.”

Taking up Linda’s point that ‘Big Hitters’ goes hand-in-hand with Art on Tour’s aims, we decided that the next episode of Art Snaps should focus on artworks chosen by the Friends’ committee for the exhibition. The final choice includes fantastic pieces by Christopher Le Brun, Desmond Morris and Alfred Wallis, and it’s available right here.

When making this selection, we realised that half of the artworks in the exhibition have already been covered in the Art Snaps series and the Spring Festival Talk ‘The Story of Swindon’s Art Collection’… Clearly, great minds think alike!

So, if you’re having a browse through the exhibition and want to know more about a piece of work, here’s a quick directory of what we’ve covered and where:

Gillian Ayres, ‘Florestan’ – Episode 1: A Celebration of Colour

Vanessa Bell, ‘Nude with Poppies’ – Episode 13: The Bloomsbury Group

Claude Francis Barry, ‘Tower Bridge, London: A Wartime Nocturne’ – Episode Six: Highlights from the Civic Offices

Cecil Collins, ‘The Sibyl’ – Episode 5: Spring has Sprung

Lucian Freud, ‘Girl with a Fig Leaf’ – Episode 14: Refugees and British Art

Terry Frost, ‘Grey, Red and Black Verticals’ – Episode 2: Abstract Painting in the 1960s

Sylvia Gosse, ‘The Printer’ – Episode Six: Highlights from the Civic Offices

Duncan Grant, ‘Seated Model’ – Episode 13: The Bloomsbury Group

Maggi Hambling, ‘Descent of the Bull’s Head’ – Episode 7: Staff Picks

Ivon Hitches, ‘Spring in Eden’ – Episode 5: Spring has Sprung

Howard Hodgkin, ‘Gramophone’ – The Story of Swindon’s Art Collection (Spring Festival Talk)

Paul Ayshford Methuen, ‘Port of Bristol’ – The Story of Swindon’s Art Collection (Spring Festival Talk)

Ben Nicholson, ‘Composition in Black and White’ – The Story of Swindon’s Art Collection (Spring Festival Talk)

Christopher Nevinson, ‘Welsh Hills’ – The Story of Swindon’s Art Collection (Spring Festival Talk)

L.S. Lowry ‘Winter in Pendlebury’ – Episode 3: The Bomford Gift

Edward Wadsworth, ‘Bright Intervals’ – Episode 15: Still Life

You can find all these episodes on our YouTube Channel here.

We’ll sign off with a shout out to the Friends of Swindon Museum and Art Gallery, who do amazing, positive work to support SwindonMAG. Check out their website to find out more about them and their fabulous programme of Zoom talks – www.friendsofsmag.org.

That’s all for now – thanks for reading!

Katie and Mags

(News) Launching our Young Artist-in-Residence Programme

We are beside ourselves with the excitement of launching our Young Artist-in-Residence programme – the first in the Gallery’s 79 year history!

The Young Artist programme aims to celebrate, promote and bring the Swindon Collection of Modern British Art to life! It also provides a unique development opportunity in a professional arts environment for young Swindon artists.

We are DELIGHTED to announce that the Swindon Museum and Art Gallery Inaugural Young Artist-in-Residence is…….. JAMES KEEL.

James is an A Level student at New College, Swindon, studying Fine Art, Photography and Media Studies. He has a particular interest in drawing and eventually hopes to use his skills in the creative industries.

James will be working on creative responses to help interpret and explore Swindon’s nationally significant collection. He will also act as a young ambassador for the Gallery, looking to inspire other young people with an interest in art, He hopes to make the Collection more accessible to a wider age-range.

We really look forward to working with him. Welcome to the team James!

Click here to see some of James’ artwork and for more information on James and the Young Artist programme.

Mags Parker, Learning Officer

(Blogpost) Roger Fry and the Bloomsbury Group

Roger Fry, ‘Studland Bay – A Black Sea Coast’, 1911

This week Art on Tour have been making a bit of a fuss about the Bloomsbury Group, complete with a brand new episode of Art Snaps exploring work by Vanessa Bell, Roger Fry and Duncan Grant from Swindon’s collection.

“Why the Bloomsbury Group” we hear you ask?

Well for one, the simple reason that we love the exciting colours, bold forms and rhythmical quality, which characterises so much work from these artists. Then there’s the art historical reason; the fact that this visual appeal is the result of a revolutionary moment in British art, which sets this small but important group of artists apart from the rest.

The man at the centre of it all was Roger Fry: artist, critic, curator, game-changer, tastemaker, forward-thinker.

If you listen to the Art Snap, you’ll hear about a striking piece in the collection called ‘Studland Bay – A Black Sea Coast’ which Fry painted in 1911. It presents a beautifully balanced composition, simplified forms and bold contrasting colours, which create a great sense of atmosphere without the need of any painstaking detail. For sure, it’s a beautiful and unforgettable piece in the collection.

And yet, it isn’t his work as an artist which makes Fry such an influential figure in British art. In 1910 he staged a seminal exhibition Manet and the Post-Impressionists at the Grafton Galleries in London, which introduced modern art from across the channel into the mainstream of British culture for the first time. He also coined the term “post-impressionism”, which is still largely used to define much French art produced in the late 19th– early 20th century.

He raised the profile of work by those newly named “post-impressionists” Paul Cezanne, Paul Gauguin and Vincent van Gogh as well as Pablo Picasso and Henri Matisse, kick-starting a new kind of art which championed the formal qualities of an artwork.

In his important writing ‘An Essay in Aesthetics’ Fry argued that art should be about line, mass, colour and overall design that evokes an emotional response from the viewer. This was a new approach in British art, and can clearly be identified in Swindon’s work ‘Studland Bay – A Black Sea Coast’.

Fry’s exhibition and ideas also opened up new possibilities for Vanessa Bell and Duncan Grant, who would go on to become the Bloomsbury Group’s two most famous artists. In the following decades, their work became more bold and daring, and works from Swindon’s collection show the ways in which they were breaking through the traditional boundaries of image making.

But we’re not going to give it all away here… oh no. Why not take 10 and listen to our latest Art Snap about this terrific trio, and hear all about what makes them so great? – https://youtu.be/-po_e_b_Y3M. Enjoy!

Blogpost by Katie

(News) Newest Art Snaps focus on exhibitions we’re missing out on

Hubert Cook, The Toilers, 1965

If, like me, one of your treasured pastimes involves strolling around the vast spaces of art galleries gazing at the nation’s glorious art collections (not to mention sipping coffee in gallery cafes and browsing the gift shops), you might feel you’re missing out on a lot at the moment.

Sadly, I can’t reproduce the experience of visiting a gallery. However, I can do the next best thing and talk about some of the fabulous exhibitions we’re missing out on in Swindon. So Art on Tour’s most recent Art Snaps have focused on exhibitions which are either postponed, or happening right now in closed venues.

Episode 9 ‘Ceramics in Colour’ looks at some of the gorgeous glazes of studio ceramics due to go on show in ‘A Celebration of Colour’ when Swindon Museum and Art Gallery can reopen (dates TBC).  Since not much of this collection is available online, it’s great to be able to shout about it in this episode, since the ceramics collection provides a great overview of artists working in clay throughout the 20th Century and today.

Episode 10 ‘Pop and Prosperity’ explores pieces by Richard Hamilton, Michael Craig-Martin and Tom Phillips in Swindon Museum and Art Gallery’s exhibition of artworks from the 1960s. This is gave me an opportunity to talk about British Pop Art and the mind-boggling art of conceptualism, through pieces from Swindon’s collection.

The most recent addition to the Art Snaps series looks at Swindon-born Railway Artist Hubert Cook. Cook’s fascinating work is inspired by the Swindon’s GWR factory, where he was employed for several years. A selection of paintings, drawings and lithographs are on loan from Swindon Museum and Art Gallery to STEAM Museum, and an accompanying blog about Cook’s work can be found on STEAM’s Object of the Month blog – https://steammuseum.wordpress.com/.

Though it’s not quite the same as actually visiting an art gallery, hopefully these short talks will give you a dose of art history appreciation to keep you going through the gallery-less days of lockdown!

As always, these latest Art Snaps are available through our YouTube Channel – https://www.youtube.com/channel/UCwLHgHbvoC0OF8zDXyv-EPQ. Please don’t forget to share the love, and pass the link onto anyone who might benefit from a bit of art chat!  

Blogpost by Katie

(News) Test your knowledge of Swindon’s Collection in The Great British Art Quiz

Alfred Wallis, ‘Ship Amid Tall Waves’ (c) Swindon Art Gallery; Supplied by The Public Catalogue Foundation

This week we’re thrilled to announce that Swindon Museum and Art Gallery has been featured in the fabulous Great British Art Quiz, which is compiled by The Guardian and ArtUK. Participants are invited to test their knowledge of Swindon’s art collection, through eight fun questions about works by artists of both local and national renown.

The Great British Art Quiz is a fantastic initiative, which includes daily challenges set by museums, galleries and heritage sites across the UK. It gives organisations the opportunity to promote their collections during lockdown, and enables the public to access and learn from them in a fun and informal way.

I’ve been learning a lot about brilliant collections throughout the country through the quiz, so I was thrilled to get the opportunity to put one together about Swindon’s collection of modern British art.

Since quizzing has become a very popular pastime during lockdown I’m quite partial to putting together a good art history round! But it was great to focus on some significant and well loved pieces from the collection for this one, including Desmond Morris’ Girl Selling Flowers, and Alfred Wallis’ Ship Amid Tall Waves. Some real gems!

Why not have a go, and test your knowledge of Swindon’s art collection – https://www.theguardian.com/artanddesign/2020/jun/04/great-british-art-quiz-swindon-museum-art-gallery#maincontent

Even if you get them all wrong, at least you’ll learn plenty!

Blogpost by Katie

(Blogpost) Art on Tour Celebrates Pop Art

Nicholas Monro, Igloos, 1971, Screenprint

This week Art on Tour has been celebrating the fun and fabulous world of Pop Art, through exciting family activities and a brand new Art Snaps podcast. And really, who doesn’t either love or love-to-hate a bit of Pop Art?! Even now, 58 years on since Andy Warhol created Campbell’s Soup Cans, so much of what was created in the ‘50s and ‘60s still looks fresh and vibrant, and provokes such lively conversation. 

Swindon Museum and Art Gallery’s current exhibition Pop and Prosperity celebrates the energy and excitement of art made in post-war Britain through an eclectic selection works from the collection. Most notable perhaps, is Richard Hamilton’s Interior Study (a), which reflects a growing interest in mass media and consumerism.

However, I want to take a moment to think about a great piece of Pop Art from the collection that isn’t included in the exhibition. Created in 1971, Nicholas Monro’s Igloos falls slightly outside the remit of Pop and Prosperity’s focus on the late 1950s and ‘60s. It’s still having it’s time to shine though (sort of, given the current circumstances), as it’s currently on show in Art on Tour’s exhibition at the Civic Offices.  

The piece entered Swindon’s collection in 2017, as part of a large donation of works on paper gifted to Swindon Museum and Art Gallery in tribute to Meryl Ainslie (Director of the gorgeous Rabley Drawing Centre in Marlborough). There’s a lovely link here, as both Ainslie and Swindon-born Monro have taught at the Swindon School of Art.

Monro’s connections to Swindon don’t end there. His late step-father was the childrens’ TV entertainer Johnny Morris who had worked as Jimmy Bomford’s Estate Manager. Bomford, of course, is the very man who is credited with planting the seeds of Swindon’s collection in the 1940s.

Local connections aside, Igloos is a great piece in Swindon’s collection. It’s seemingly simple in execution, depicting four igloos through thick black outlines against a rusty orange background. I can’t guess what it was that attracted Monro to igloos, or this specific shade of orange, but there is so much about this work which exudes the spirit of Pop Art.

The simple and precise repetition of shapes, and the bold, smooth finish, reflects Pop’s enthusiasm for the mass production of imagery seen in advertising. The screenprint does this too. It was a method of working favoured by pop artists, because it enabled them to reproduce images of the everyday and mundane over and over again. Swindon’s piece is in fact one of 70 of the same image. This audacious and confident repetition threw into question the divide between fine art and low, popular imagery, in an era exploding with visual communication.

But the thing I find most interesting about this image, is the push and pull between flatness and perspectival space. The single background colour enhances the smooth surface of the work, so much so that it is almost characterised by flatness. Almost. The igloos however, provide a sense of perspective, with the closest pushed right up to the picture plane. Monro seems to be playing with our perception, and our expectation of encountering three dimensional space in a two dimensional image.

This interest in the viewer’s perception reflects a new era dominated by technological advances and mass media. It was of interest to other artists too, including one of the most famous British pop artists Richard Hamilton, whose piece Interior Study (a), features in our latest Art Snap about Pop and Prosperity.

Richard Hamilton, Interior Study (a), 1964

But if the Pop Art-inspired podcast, blog and Art Burst aren’t quite enough to feed your appetite for the exhibition, why not take a look at an online version available through ArtUK’s new curation feature, at https://artuk.org/visit/venues/swindon-museum-and-art-gallery-5267.

Finally, don’t forget to also keep a look out for more blog posts about works on show in our fabulous exhibition at the Civic Offices! There’s much more where this came from…

Blogpost by Katie