If awarded the Dover Prize, I would use the £10,000 bursary to further develop two interconnected projects—Tell Tales and Through the Loop—which explore memory, narrative, and the fragile boundaries between truth and fiction. This support would be instrumental in expanding my practice beyond traditional painting into collaborative and sculptural forms, using storytelling as both subject and medium.
Tell Tales interrogates the instability of memory, especially childhood recollections shaped by emotion, repetition, and repression. Drawing on personal experiences and broader social expectations, this project reflects on the way we are reprimanded for “telling tales” in childhood—yet storytelling remains central to how we process reality. I want to evolve this work into immersive, installation-based environments that mix painted works, audio fragments, and object-based storytelling. Funding would allow for experimentation with scale, materials, and narrative layering, and enable research into archival and oral histories.
Through the Loop, an emerging body of work, expands these ideas further—focusing on the idea that certain memories fall “through the loop,” never to be recalled in the same way again. It explores the elusive nature of truth, especially within autobiographical memory. This project will include large-scale works on paper, experimental sculptural pieces, and narrative ceramics developed in collaboration with a ceramicist, embedding painted stories directly onto object surfaces.
The Dover Prize would provide the time and resources to consolidate these projects into a major body of work. The funding would support studio time, material costs, collaboration with other practitioners (especially a ceramicist or sound artist), and travel for research. It would also support the development of a public-facing outcome—through exhibition or publication—bringing the work to a wider audience.
Crucially, the award would allow me to take creative risks, deepen my material investigation, and reflect more fully on the emotional architecture of memory. It would be a transformative step forward for my interdisciplinary practice.
My practice, rooted in narrative, memory, and the emotional complexities of identity, is driven by a desire to create work that resonates beyond personal experience and speaks to shared human truths. Through projects like Tell Tales and Through the Loop, I explore the fragility of recollection and the tension between truth and fiction—ideas that can be universally understood and deeply felt.
By developing these works in Darlington, I would actively engage with the local community through storytelling workshops, open studio events, and collaborative dialogues. I believe art that deals with memory has the unique potential to open intergenerational conversations, and I would aim to incorporate local voices into aspects of the project. This could involve collecting regional stories or working with young people to explore their own narratives through visual art.
My goal is to contribute meaningfully to Darlington’s creative ecology by presenting ambitious, multidisciplinary work that invites reflection and emotional connection. An exhibition or public outcome developed during the residency would not only showcase new work but position Darlington as a site of experimentation and rich artistic inquiry. I hope to enhance the town’s cultural identity by making space for quiet, intimate storytelling that carries weight far beyond the gallery walls.
I am a multidisciplinary artist based in Bristol, working primarily across painting, drawing, and installation. My practice explores the intersections of memory, storytelling, and emotional complexity—particularly how personal narratives are shaped, distorted, and mythologised over time. I am deeply interested in the space between truth and fiction, and how this tension can be expressed visually through layered mark-making, recurring symbols, and fragmented narratives. My work often draws on autobiographical material, using a lens of autofiction to reimagine childhood experiences and explore transitional states—between childhood and adulthood, mother and daughter, vulnerability and resilience. I’m drawn to domestic and folkloric imagery as a way to create visual languages that speak to both personal history and broader cultural archetypes. I often combine painting with sculptural or found elements, experimenting with surface and texture to evoke memory’s unreliable, tactile qualities. Recent projects include Tell Tales, an ongoing exhibition proposal investigating memory through a childlike but uneasy lens, and Through the Loop, which explores the idea of memories falling away or slipping through the gaps—never to be recalled in the same way. These projects reflect a growing interest in creating immersive installations that function as narrative environments. In 2023, I was shortlisted for the Freelands Painting Prize, and in 2024 I presented a solo exhibition, On All Fours, in London. I am currently based at Pennywell Studios in Bristol, where I am developing new work that incorporates both visual storytelling and object-making. Collaboration is increasingly important to my practice, and I am currently seeking opportunities to work across disciplines—particularly with makers in ceramics, sound, or text. My aim is to create work that holds space for ambiguity, emotional depth, and intimacy, inviting audiences to find their own stories reflected in the work. I’m drawn to residencies and commissions that allow time and space for deep thinking, material exploration, and conversation.
Yes, I hold a BA (Hons) in Fine Art from Bath School of Art. This undergraduate degree provided a strong foundation in critical thinking, conceptual development, and technical skill across a range of media, including painting, drawing, sculpture, and installation. During my time at Bath, I began developing the thematic concerns that continue to shape my current practice—particularly the exploration of memory, identity, and narrative through visual means.
The course encouraged independent thinking and a research-led approach, enabling me to build a body of work that was both personal and critically engaged. I took part in group exhibitions, crit sessions, and collaborative projects, and was supported in writing about my work and articulating ideas in public forums. This academic grounding was crucial in helping me understand how to contextualise my practice within contemporary art discourse.
Since graduating, I have continued to develop my professional practice through residencies, exhibitions, and commissions. While I have not yet undertaken postgraduate study, I actively seek opportunities that offer a similar depth of research and peer exchange, such as residencies and funded project development. I am open to pursuing further education in the future, particularly if it aligns with my interest in cross-disciplinary collaboration and narrative-based practice.
Yes, I was shortlisted for the Freelands Painting Prize in 2023, a significant recognition awarded to emerging painters from across UK art schools. Being shortlisted provided national visibility, professional support, and an opportunity to exhibit my work alongside other leading emerging artists. This recognition affirmed the direction of my practice and opened up new dialogues with curators, galleries, and other artists.
In addition to this, I have been the recipient of smaller artist development bursaries through my engagement with local arts organisations and residencies. Most recently, I have been in residence at Pennywell Studios in Bristol, which, while not a direct grant, has supported the development of large-scale installation works and new project ideas such as Tell Tales and Through the Loop. These projects have been essential to advancing my practice, allowing me to deepen my conceptual and material research.
While I have not yet received major national grants, I have consistently used available opportunities to grow my work and professional network. I now feel ready to take on larger-scale funding to push my practice further, particularly into cross-disciplinary, collaborative, or socially-engaged contexts. Receiving professional support at this stage would be a key step in scaling up both the ambition and reach of my work.
Yes, I am actively involved in creating and contributing to self-initiated professional opportunities. I currently work from Pennywell Studios in Bristol, an artist-led studio space that supports a thriving creative community. As part of this environment, I regularly engage in peer-led critique sessions, open studios, and collaborative events, all of which are integral to maintaining a dynamic and supportive professional network.
Alongside my studio practice, I have also organised and curated group exhibitions, bringing together early-career artists around shared themes such as memory, storytelling, and identity. These projects often involve working collaboratively to secure venues, develop curatorial frameworks, and manage promotion and logistics—skills that are central to sustaining a self-directed career in the arts.
In my role as Art Shop Manager at UWE Bristol, I also help support art and design students by sourcing materials and advising on creative projects, which adds a layer of mentoring and educational engagement to my professional life.
These self-initiated efforts not only foster artistic growth but also contribute to a wider culture of collaboration and shared opportunity. I see artist-led projects as vital to sustaining a resilient creative community, particularly in times of financial precarity or institutional instability.
While I have not yet been formally commissioned by a public institution, my practice has consistently demonstrated the rigour, depth, and engagement necessary for such opportunities. I have independently developed and delivered ambitious projects that reflect a high level of conceptual and material enquiry, including Tell Tales and Through the Loop—ongoing bodies of work that explore memory, storytelling, and emotional perception through mixed media installation and narrative painting.
In 2023, I was shortlisted for the Freelands Painting Prize, which recognised the strength of my practice and its contribution to contemporary painting in the UK. I have also delivered artist-led workshops exploring themes such as identity, motherhood, and autofiction—creating accessible, reflective spaces for dialogue and creative exploration. These workshops, while not commissioned, reflect my commitment to socially engaged practice and my ability to connect with a wider public.
I am actively seeking opportunities to work with public institutions and am confident that my experience, vision, and collaborative approach would lend themselves well to future commissions. I bring a strong conceptual foundation, a sensitivity to audience, and a desire to contribute meaningfully to the public realm through art.
No, my artwork has not yet been purchased by a public collection. However, my work is held in private collections both in the UK and internationally, with collectors who value the emotional depth and narrative-driven nature of my practice. These collections have provided me with the opportunity to engage with audiences on a personal level, allowing my work to resonate with individuals who appreciate the thematic exploration of memory, identity, and emotional complexity.
While I have not yet had the opportunity to exhibit in public collections, I am actively pursuing these kinds of opportunities and remain committed to building relationships with institutions that align with my artistic vision. I believe that the continued development of my work, particularly through projects like Tell Tales and Through the Loop, will further demonstrate its relevance to broader audiences, offering new perspectives on themes of truth, recollection, and the fragility of memory.
I am eager to contribute to public collections in the future and see this as a natural progression in expanding the reach and impact of my art.
My artwork has been featured in several notable publications and exhibitions. In April 2024, my work was included in Artists Responding To, Issue 10, and in Suboart Magazine, Nr. 23, where my explorations of memory, identity, and the intersection of personal history and emotional narrative were discussed in detail. Additionally, I was featured in Dark Yellow Dot, April 2024, where my approach to blending fiction and memory was highlighted as a unique contribution to contemporary art.
I have also been part of important exhibitions, such as POTLUCK: A Surreal Gathering of Emerging Artists at 44AD art space and Phantasmal gallery, and Fringe Arts Bath – GIRLS + GUTS, which focused on emerging feminist artists. These exhibitions provided platforms for my work to engage with a wider audience and contributed to the ongoing conversations surrounding surrealism, memory, and emotional complexity in contemporary art.
Tell Tales, my current project, was featured in Centrespace, where the interplay between storytelling and visual narrative was explored. These reviews and exhibition features have been instrumental in expanding my presence within the art world and fostering connections with both local and international audiences.
I am not currently represented by a gallery, though I see this as an exciting opportunity for future growth in my career. I am committed to developing my practice independently, allowing me the flexibility to engage in a wide range of exhibitions, collaborations, and residencies that align with my artistic vision. This approach has allowed me to experiment with different mediums and contexts, helping to shape my evolving artistic identity.
While not represented by a gallery, I maintain a strong connection to the broader art community through my exhibitions, collaborations, and involvement in projects such as Tell Tales, which I am currently developing. I am always open to new opportunities and look forward to the possibility of working with a gallery that aligns with my values and artistic direction in the future.
Yes, I have participated in several recognized artist residency and placement schemes. Currently, I am a resident at Pennywell Studios in Bristol, where I have the opportunity to focus on my artistic practice in a supportive and collaborative environment. This residency has been crucial for the development of my ongoing projects, such as Through the Loop and Tell Tales, which explore memory, identity, and emotional complexity. The space allows me to experiment with new materials and formats, enabling me to push the boundaries of my work and engage with other creatives.
Additionally, I will be attending Steria Artist House – Casa Tersìcore Roseto Valfortore in July 2025, a residency that will further deepen my engagement with new ideas and expand my creative practice.
I also completed the Emerge Residency in Bath at Sion Hill in 2023/2024, which provided an excellent platform for me to focus on my work while engaging with the local community and artists. Furthermore, I was an Associate Artist at Spike Island in Bristol during 2023/2024, where I developed my projects in a prestigious and dynamic setting.
These experiences have played a significant role in shaping my practice, offering both time and space to delve into my artistic themes and fostering valuable connections within the creative community.
Email: darcy.whent@uwe.ac.uk
Address: 72 Paxton Drive, Ashton, Bristol, City of Bristol, bs32bf, GB
