Glass, blood, methanol.
31 cm L x 31 cm H x 19 cm D
2023
Pamela Schilderman ©
Copper mesh and wire
19 cm DIA x 28 cm H
2023
Pamela Schilderman ©
3D print, clay and paint
19 cm DIA x 18 cm H
2023
Pamela Schilderman ©
Dental wax, polymer clay and tooth.
10 cm DIA x 17 cm H
2023
photo credit Roger Jeffery ©
Resin, silver and fingernails
19 cm DIA x 18 cm H
2023
photo credit Andrew Jones ©
Glass, felt, fishing line and scent
16 cm DIA x 28 cm H
2023
photo credit Andrew Jones ©
Glass and saliva
25 cm DIA x 40 cm H
2023
Pamela Schilderman ©
Hair, doughnuts, wire and polymer clay
28 cm L x 37 cm H x 16 cm D
2023
photo credit Andrew Jones ©
Warrington Museum & Art Gallery
2023
Pamela Schilderman ©
Watercolour and ink
39 cm W x 46cm H
2023
Pamela Schilderman ©
Pen, Indian ink and pencil on paper
33.5 cm W x 28 cm W
2023
Pamela Schilderman ©
Pen, Indian ink and pencil on paper
28 cm W x 33.5 cm H
2023
Pamela Schilderman ©
Pen, Indian ink and pencil on paper
33.5 cm W x 28 cm H
2023
Pamela Schilderman ©
Pen, Indian ink and pencil on paper
33.5 cm W x 28 cm H
2023
Pamela Schilderman ©
Pen, Indian ink and pencil on paper
33.5 cm W x 28 cm H
2023
Pamela Schilderman
Pen, Indian ink and pencil on paper
28 cm W x 33.5 cm H
2023
Pamela Schilderman ©
Pen, Indian ink and pencil on paper
28 cm W x 33.5 cm H
2023
Pamela Schilderman ©
Ink on paper, silver & glass
33 cm L x 22 cm W x 7 cm H
2017
Pamela Schilderman ©
Copper
33 cm L x 22 cm W x 7 cm H
2017
photo credit Kerem Cetindamar
Pencil on paper, platinum & glass
33 cm L x 22 cm W x 7 cm
2017
photo credit Kerem Cetindamar
Watercolour on paper, carbon rod & diamonds
33 cm L x 22 cm W x 7 cm H
2017
photo credit Kerem Cetindamar
Mixed media
33 cm L x 22 cm W x 7 cm H
2017
photo credit Kerem Cetindamar
Watercolours, salt crystals & glass
200 cm L x 350 cm W
2014
Pamela Schilderman ©
Watercolours, salt crystals & glass
200 cm L x 350 cm W
2014
Pamela Schilderman ©
The interventions examine perception as if through a prism, opening up muted conversations with their museum context. Unobtrusive in their expert camouflage they blend seamlessly with the collections whilst they record the interaction and participation of their audience.
EcologyNOW: 38 works in a variety of media (2023)
EcologyNOW challenges the position of humans at the top of the classic evolution chain. It asks visitors to consider whether humans are the most important species on earth today. The mixed-media sculptures pair human forensic identifiers like blood, hair and fingernails with animals species whilst the Indian ink drawings depict scenes across Brazil where animals take centre stage.
Casket: 6 works in a variety media (2017 - 2020)
Casket challenges the traditional self-portrait by using forensic identifiers: my thumbprint, hair, teeth, retina and DNA in order to present an alternative perspective of the self through the lens of criminological science. In order to transform the clinical image of forensic identifiers and imbue them with sentimental value, each one was created to scale and united with a precious element: silver, gold, copper, platinum and carbon. Displayed in a clear glass/wrought iron jewellery box my name has been deliberately omitted - I exist, I can be identified but I cannot be seen.
Harold Thomas Collection: 45 works in a variety of media (2009 - 2014)
The Harold Thomas Collection consisted of detailed watercolours and salt crystals presented as undiscovered parasitic plant species found in the Congo by the fictitious anthropologist Harold Thomas. It was essentially an experiment in seeing, which encouraged the viewer to question the nature of authenticity whilst activating a dialogue with its museum context. It was exhibited as a genuine Victorian Natural History Collection in museums at: Rugby, Haslemere, Warrington, Shrewsbury and Oxford Natural History Museum; culminating with ARTifice - a seminar that disclosed the context in which the project evolved.
