If successful in receiving the £10,000 Dover Prize bursary, I will use the funding to deepen my artistic practice through research, experimentation, and community engagement. Where Light Meets Memory is a sculptural project exploring identity, place, and reflection through mirrored surfaces, light, and Māori worldviews of ancestry and migration. With the support of this award, I will have the time and resources to shift from a commission-led practice into more research-led conceptual development, taking creative risks that are not always possible within commercial constraints.
The bursary will be used to cover time in the studio, materials for prototyping, travel to Darlington for site visits and community workshops, and experimentation with new fabrication techniques. Specifically, I will explore the use of mirrored acrylics, convex forms, and programmable light to create interactive sculptures that invite viewers to see themselves within layered narratives of heritage and place. I will also research Darlington’s migration history, railway legacy, and industrial past, drawing symbolic parallels with Māori navigational and ancestral pathways.
This funding allows me to develop new skills in kinetic form, light control, and reflective surface engineering, taking my practice beyond what I have previously achieved in works like Wharanui Harikoa or Light at the End of the Tunnel. Importantly, it supports collaboration with local communities, schools, and youth groups, creating opportunities for people to co-author visual responses to the idea of “reflection” as both a personal and cultural process.
Ultimately, I aim to create a series of reflective light sculptures, poetic vessels that connect people to place, memory, and each other. The award will help me build a strong conceptual and technical foundation for this new body of work while embedding it meaningfully in the context of Darlington. Where Light Meets Memory represents a critical turning point in my practice, a move toward deeper, slower, and more expansive artistic exploration.
My project, Where Light Meets Memory, seeks to contribute meaningfully to Darlington’s cultural life by creating sculptural light works that reflect the town’s unique identity and layered histories. By drawing connections between Māori concepts of ancestry and reflection and Darlington’s legacy of migration, industry, and innovation, the work will offer a fresh, cross-cultural perspective on place and belonging.
Through public engagement workshops with schools, youth groups, and local communities, I aim to co-create responses that feed directly into the final artwork. These participatory elements will foster pride, visibility, and creative expression, especially among young people and underrepresented voices. The result will be not only an artwork, but a shared experience rooted in Darlington.
My reflective sculptures will invite audiences to consider their own place in local and global narratives, positioning Darlington as a space where contemporary art and cultural dialogue meet. By experimenting with light, material, and form in public or accessible spaces, the work will generate curiosity, interaction, and a sense of wonder.
In doing so, I hope to raise the profile of Darlington as a site for ambitious, inclusive, and reflective art-making, while enriching its reputation as a place of creativity and cultural depth.
I am a Māori artist, designer, and educator based in Newcastle upon Tyne. My practice explores light, reflection, identity, and landscape using mixed media, sculptural form, and community collaboration to connect people with place and story. At the heart of my work is the Māori concept of whakaata, reflection not only as a visual effect but as a philosophical and cultural framework. My work invites viewers to see themselves within broader narratives of heritage, migration, and transformation.
Much of my recent work focuses on mirrored surfaces and light as tools for interactive experience. I have developed a signature approach using convex mirrors and iridescent materials to explore how personal and collective identities are shaped through our environments and cultural memory.
Recent exhibitions include the Denbies Vineyard Exhibition with the Croydon Art Society, where I was awarded the Joan Kinder Salver for the most innovative work. I also collaborated with Lissy and Rudi Robinson-Cole on Wharanui Harikoa, the world’s first neon-crocheted Māori Marae, contributing the structural design for this immersive touring artwork.
In 2024, I led the design and construction of a geodesic dome for Porlock Community Gardens, a participatory commission supporting STEM learning through environmental design, geometry, and intergenerational engagement. I was also selected for the Weetslade Art Trail, creating a site-specific sculptural concept that responds to local heritage and invites reflection within the natural landscape.
I facilitate Artistry Nexus, a weekly adult art group at the Cathedral Café in Newcastle. Supporting older adults to reconnect with creativity is a deeply rewarding part of my practice. These sessions foster community, confidence, and personal expression through shared making.
Collaboration and participation are central to my process. I work with schools, youth groups, and community organizations across the North East. My current direction focuses on immersive sculptural installations using mirrored acrylic, programmable light, and kinetic elements. The Dover Prize would support this next phase of research and experimentation, enabling me to develop meaningful new work that reflects both personal heritage and shared narratives of place
Yes, I hold a Bachelor of Design, majoring in Interior Design, from Unitec Institute of Technology in Auckland, New Zealand. During my studies I was awarded the national BEST Design Award for my student project Wave House and later received a professional BEST Design Award for my contribution to the Telecom Shed while working at Jasmax Architects. These early recognitions gave me a solid foundation in spatial thinking, conceptual clarity and the creative potential of built environments.
I also began a Bachelor of Architectural Studies, a pathway to a Master of Architecture, but chose to pause my academic journey to raise a young family and relocate to the UK so my wife could be near her family. This transition marked a turning point in my creative life. Stepping away from commercial architecture allowed me to pursue a more personal, expressive, and socially engaged art practice.
Over time my work has evolved from design-led projects to sculptural, reflective installations that explore identity, landscape, and indigenous worldview. This shift has been driven by a deep desire for creative growth and connection. The Dover Prize would allow me to further expand this practice through research, experimentation and public engagement. I would like to moving toward bold new sculptural directions grounded in lived experience.
Yes, I have received several professional awards and commissions that have supported the growth of my creative practice. In New Zealand I was awarded the national BEST Design Award for my student project Wave House, and later a professional BEST Design Award for my contribution to the Telecom Shed while working at Jasmax Architects.
In the UK I received the Joan Kinder Salver Award from the Croydon Art Society for most innovative work at the Denbies Vineyard Exhibition. More recently, I was commissioned by Newcastle Cathedral to create a large-scale light sculpture for Light at the End of the Tunnel, an exhibition that explored spiritual reflection through contemporary art.
I was also commissioned to design and build a geodesic dome for Porlock Community Gardens, supporting STEM learning and youth engagement. I’ve worked with South Shields Council on community-led art initiatives and contributed to the Weetslade Art Trail in North Tyneside, commissioned by Helix Arts and supported by local councils and partners.
These opportunities have expanded my creative scope and public engagement. While I have not yet received a major grant, these commissions reflect growing recognition of my work. The Dover Prize would allow me to consolidate these experiences into a focused period of artistic development.
Yes, I am actively involved in creating and leading self-initiated professional opportunities that support both my artistic growth and community engagement. I run the Artistry Nexus adult art group at Newcastle Cathedral Café, a project I set up to support elderly artists by building self-esteem and helping them gain the confidence to present and sell their work to the public. It is a safe, welcoming space where creativity, conversation, and wellbeing come together.
I also initiated the Porlock Community Gardens dome project, working with young people to design and construct a geodesic dome. This structure is not only an example of creative and structural innovation but is also designed as a functional greenhouse to grow food for the local community. The project helps build confidence and practical skills in young people, while encouraging teamwork and environmental awareness.
These projects reflect my ongoing commitment to using art as a tool for connection, empowerment, and inclusion. I regularly develop my own ideas, secure funding, and collaborate with local groups to bring meaningful, accessible art experiences into public and community settings. My role as an artist often includes that of facilitator, mentor, and creative organizer.
Yes, I have been commissioned by several public institutions for projects that combine community engagement, cultural storytelling, and experimental art practice. In 2023, I was one of six artists selected for Light at the End of the Tunnel, a commission by Newcastle Cathedral. I was chosen for my use of storytelling through light and reflection, creating an immersive sculptural installation that explored themes of transformation within a sacred space.
I was also commissioned by Porlock Community Gardens to design and build a geodesic dome structure with young people and families. The project supported STEM learning and community resilience, with the dome functioning as a greenhouse to grow food and foster environmental awareness.
Additionally, I was selected for the Weetslade Art Trail by Helix Arts, supported by North Tyneside Council and other regional partners. My contribution used sculptural interventions to respond to the landscape and engage visitors through themes of identity and natural cycles.
While the Laygate Playground mural is currently in development with South Tyneside Council, it reflects continued trust in my ability to deliver meaningful public artwork.
These commissions reflect my passion for creating work that connects people, place, and purpose through creativity and shared narratives.
Yes, I have been commissioned by public institutions both in the UK and internationally. A highlight was being commissioned by the New Zealand High Commission in London to create a series of three artworks now in their permanent collection at 1 Pall Mall. These works explored identity and reflection through a Māori lens and marked a significant moment in my career as a Māori artist living in the UK.
In the UK, I was one of six artists selected for Light at the End of the Tunnel at Newcastle Cathedral, chosen for my use of light and storytelling to transform the cathedral space into a contemplative experience for visitors.
Most recently, I was commissioned by Helix Arts for the Weetslade Art Trail, supported by North Tyneside Council and other regional partners. As part of this project, I led workshops with the local community, sharing my creative process and supporting them to develop their own convex mirror artworks inspired by local wildlife and the environment of Weetslade Country Park. The resulting pieces formed part of an interactive trail that reflected the community’s connection to place.
These experiences continue to shape my commitment to inclusive, collaborative, and culturally reflective public art.
Yes, my artwork has been featured in various media outlets, highlighting both my individual practice and collaborative projects. Notably, my role as the structural designer for Wharenui Harikoa—the world’s first neon-crocheted traditional Māori wharenui created by artists Lissy and Rudi Robinson-Cole—garnered significant attention. This project was showcased in publications such as Colossal and RNZ, celebrating its innovative fusion of cultural heritage and contemporary art.
In the UK, my participation in Light at the End of the Tunnel at Newcastle Cathedral was covered by English Cathedrals, which highlighted the exhibition’s aim to inspire hope through immersive light installations.
Additionally, the Weetslade Art Trail, commissioned by Helix Arts and supported by North Tyneside Council, received attention on Helix Arts’ website. This project involved community workshops where participants created convex mirror artworks inspired by local wildlife and the environment of Weetslade Country Park.
These features have amplified my commitment to creating art that fosters community engagement and reflects cultural narratives, enhancing public interaction with themes of identity and place.
Yes, I am currently represented by FTSQ Gallery in London, which supports my sculptural and reflective art practice. Through this relationship, I’ve been able to share my work with a broader audience and develop opportunities that align with my creative goals.
I have also exhibited regionally at Haslem of Hallgate in Hexham and continue to sell work through curated online platforms such as Artfinder and Westcover. These platforms allow me to connect with collectors and curators worldwide who are drawn to the cultural narratives and light-based innovation in my work.
Much of my commissioned work comes directly from clients across the globe. I’ve received international commissions from Japan, the United States, Australia, and New Zealand, often through my website or via social media. This direct engagement provides a valuable connection to audiences who appreciate the personal and cultural depth of my practice.
Locally, I proudly exhibit and sell work at the Cathedral Café in Newcastle, alongside members of Artistry Nexus, the adult art group I run. This project supports elderly artists in building confidence and showcasing their creativity to the public, creating a vibrant and inclusive space for artistic exchange within the community.
These combined avenues of representation, including formal galleries, online platforms, and direct international clients, offer me the flexibility to explore both studio-based and community-rooted projects while continuing to grow creatively and professionally.
I have not yet participated in a recognized residency or formal artist placement, but this is a key area of professional growth I am actively pursuing. The Dover Prize represents an exciting opportunity to experience the focused time, support, and environment a residency offers, something I have not yet had access to but deeply value as a catalyst for creative development.
While I have not undertaken a traditional residency, I have initiated and led several long-term community-engaged projects that mirror the intensity and immersion of a residency context. These include the Porlock Community Gardens dome commission, which fosters STEM learning and food growing with local youth, and the Weetslade Art Trail, a public commission where I worked closely with participants to co-create light-based artworks inspired by their local landscape and wildlife.
I am currently exploring international residencies that align with my practice, such as those in France that focus on light, reflection, and cultural identity. I see the Dover Prize as a crucial step in developing this part of my career, providing space to experiment, consolidate ideas, and build momentum toward more structured residency opportunities in the future.
Email: frederickworrellartanddesign@gmail.com
Address: 14 Foxglove Place, Newcastle upon Tyne, NE13 6BA, GB
Local Authority: North Tyneside
