Meet our Sasha Ward, the 2014 Artist in Residence at Kelmscott Manor!
2014 Artist in Residence Sasha Ward
Architectural stained glass artist Sasha Ward was appointed as the first Artist in Residence at Kelmscott Manor. During the 2014 open season, Sasha set up an artist studio in the Manor's Brewhouse. She explored the Manor, ran workshops, and created works of art inspired by the Manor and its collection.
The Society of Antiquaries of London and Kelmscott Manor were thrilled to work with R&A Collaborations on this wonderful video!
More about Sasha Ward
You can read all about Sasha Ward as Artist in Residence at Kelmscott Manor by visiting Sasha's blog at www.sashaward.co.uk/blog.
Sasha is based in Marlborough, Wiltshire, and her innovative glass techniques have led to more than 70 major projects and commissions for public and private buildings, including Churchill Hospital, Oxford (2014), Dorset County Hospital (2013), Liverpool Premier Inn (2012) and the Millbank House Library for the House of Lords (2012).
Sasha says: ‘You can find the sort of art that interests me all around us, in the buildings and streets that we inhabit. My career has been influenced by the study of decorative arts from medieval to modern times, but with a desire to do things in my own way, using new techniques, patterns and imagery. In Kelmscott Manor and the work of William Morris & Co. I found the perfect expression of many of my interests and, while in residence, developed three new designs inspired by the Manor, its inhabitants and the surrounding landscape.' These designs, initially for windows and wallpapers, will be used for a range of products that will be available in 2015!
You can also view our Facebook Album with examples of Sasha's past work.
Inside the Brewhouse
We made some short videos to help visitors get to know Sasha Ward at the beginning of her term as Artist in Residence. You can watch all four short videos (ranging from 45 seconds to less than three minutes long) below.
The residency is being funded with the generous help of Arts Council England, NADFAS, The Radcliffe Trust, The Oxford Research Centre in Humanities (TORCH, University of Oxford), The Company of Arts Scholars, and Geoffrey Bond (Fellow of the Society of Antiquaries of London).