Shared Heritage: Exploring Culture through making, drawing, and transformation
Project Outline and Aims:
Shared Heritage is a participatory illustration project designed to engage communities in Darlington through storytelling, making, and intergenerational cultural exchange. Collaborating with local schools, libraries, and cultural organisations, I will deliver 10 participatory co-creation workshops using a “visual toolkit” and crafts making to transform memories, heritage, and everyday rituals into drawings, objects, and narrative artefacts. This project aims to preserve cultural knowledge, foster dialogue, and build inclusive creative spaces that empower participants of all ages to reflect on identity, heritage, and belonging. The final output including a printed publication, an interactive digital archive, and a public exhibition to celebrate the collective creativity and diversity of Darlington’s communities.
How the funding will be used:
The £10,000 bursary will support research, development, and delivery of 10 workshops, production of a printed and digital publication, and creation of an interactive website. It will fund materials, travel, exhibition setup, professional documentation, and training workshops in community engagement. The funding also supports my visit to galleries, museum, exhibition and workshops for creative inspiration and professional growth.
Outputs and Outcomes:
– 10 participatory workshops involving youth and adults
– A printed and digital publication showcasing community work
– A visual archive shared through an interactive website
– A final public exhibition in Darlington
– Inclusive engagement fostering intergenerational dialogue
Impact on My Practice:
The Dover Prize will allow me to consolidate and expand my practice as an artist-educator. It builds on previous self-initiated projects in cultural heritage and participatory art, enabling a step-change toward long-term community engagement. I aim to test new collaborative methods, strengthen facilitation skills, and explore publishing as a tool for cultural preservation.
Long-Term Vision:
This project will deepen my commitment to community arts and cultural education. It aims to build lasting connections in Darlington and serve as a model for inclusive, creative heritage engagement, rooted in collaboration, storytelling, and shared cultural memory.
Ethics
Ethical engagement is central to my project. I will work with organisations and participants with respect, transparency, and full consent. All contributors will be properly acknowledged through credit, shared authorship, or small honoraria, depending on the level of involvement. Documentation, including photographs and recordings, will only proceed with prior permission. I am committed to representing cultural practices with care, ensuring that narratives are shared accurately, and with sensitivity to context and ownership.
Safety and Safeguarding
Participant safety is a priority. I will conduct risk assessments for all workshops, especially those involving tools like scissors, craft wires, or glue, and will provide age-appropriate materials and clear instructions. The sessions will be designed to be inclusive, accessible, and supportive, with space for open communication. I will create an environment where all participants feel respected and heard. I am prepared to obtain an Enhanced DBS check and will follow all safeguarding policies in partnership with schools, libraries, and organisation.
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Art Project and Budget plan
INCOME (£12,786 Total)
* The Dover Prize (requested): £10,000
(Award to support creative development and community engagement over two years)
* Public Workshop Ticket Sales – Adult: £600
(£50 per person, based on 12 participants at 60% capacity)
* Public Workshop Ticket Sales – Youth: £420
(£30 per person, based on 14 participants at 70% capacity)
* Print Publication Sales (estimate): £1,500
(£15 per book, estimated 100 sales over 15–24 months)
* Digital Publication Sales (estimate): £266
(£8 per copy, estimated 33 digital sales)
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EXPENDITURE
PRODUCTION & RESEARCH COSTS
* Research & Development Time: £2,000
(Artist time for exploration, experimentation, and participatory practice development)
* Community Research / Collaboration: £700
(Small honoraria for talks and sharing stories, plus venue and materials for co-creation)
* Art Exhibition and Museum Entry Fee: £100
(For inspiration and thinking time — visiting exhibitions and museums to discover new perspectives)
* Materials Testing / Prototypes: £300
(Exploration of bamboo techniques and tools — outcomes may be functional or conceptual)
* Training Workshops (Community Engagement): £600
(Participation in “Start to Teach Creative Workshops” and “Facilitation 101” to enhance participatory facilitation skills)
* Publication Printing Cost: £540
(Test-run publication to share insights — format and scale may evolve during the process)
* Interactive Website: £220
(Webflow CMS site plan — 2-year plan)
* ISBN Code: £89
(ISBN application fee for formal publication registration)
* DBS Check: £38
(For working in schools, colleges, and public venues)
* Online Journal / Article Access: £100
(£30 per article — estimated 3–4 key research papers)
* Reference Books / Research Materials: £100
(Estimated £20 per ebook — 3–5 publications)
* Workshop Materials: £800
(Bamboo, coloured/plain paper, paints, craft materials and supplies)
* Final Exhibition Printing: £300
* Final Exhibition Setup (Display/Mounting): £100
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FEES
* Installation Helpers / Technician: £200
(2 days of support for setting up the exhibition)
* PV Support: £180
(3 assistants × 4 hours × £15/hour for Private View event support)
* Photographer / Filmmaker: £1,020
(To document workshops and the exhibition for archiving and storytelling)
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SPACE COSTS
* Workshop Space (Low Rate): £180
(£12/hour × 3 hours × 5 sessions)
* Exhibition Venue Hire: £500
(Subject to confirmation for the final public presentation)
EQUIPMENT / HIRES
* Lighting Equipment: £200
(For enhanced exhibition presentation and documentation)
* Filming Equipment (Camcorder): £300
* Audio Recorder: £140
(For capturing interviews and ambient sound)
* Tripod: £33
* Projector: £200
(For use in workshops, presentations, and exhibition)
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TRANSPORTATION
* Travel to Venues: £360
(4 round trips between London and Darlington @ £90 each)
* Travel to Art Galleries, Museums, and Workshops: £60
(Estimated for 5–6 visits to exhibitions and training sessions)
* Residency Accommodation: £950
(19 nights total across 3 visits @ £50/night)
* Taxi Transport for Works/Equipment: £30
* Local Bus Tickets: £60
(17 days × £3.50 bus day ticket)
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PUBLICITY & MARKETING
* Website Cost: £855
(£36/month × 24 months + £15 domain registration)
* Social Media Promotion: £150
(Sponsored posts/ads to reach Darlington and UK audiences)
* Posters, Flyers, and Promotional Materials: £80
(A1 posters × 3: £18, A2 posters × 25: £32, A5 flyers × 500: £30)
* Invitation Cards: £161
(Printing: £60, shipping: £85, envelopes: £15.50)
* Report / Publications / Documentation: £400
(Time for reflection, writing, and process documentation for future sharing)
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EVALUATION COST
* Documentation & Reflection Support: £100
(Printing reflective reports, evaluation forms, and digital documentation)
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CONTINGENCY
* Contingency (5% of all expenditure): £640
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Total Expenditure: £12,786
Net Balance: £0
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* The income shows the projects’ potential for its sustainability and broader community engagement and long-term impact
Target Audiences, Outcomes, and wider benefits:
This participatory art project will collaborate with local schools, colleges, libraries, youth groups, and cultural organisations in Darlington to explore heritage through illustration, co-creation, and storytelling.
* Local Schools & Colleges
-Potential partners: Darlington College, Queen Elizabeth Sixth Form College, Carmel College Sixth Form, Hummersknott Academy, Longfield Academy, Hurworth School, and local primary schools.
-Need: Opportunities for students to engage in cultural learning and creative expression.
-Benefit: Workshops that support arts education, identity-building, and access to creative arts
* Cultural Organisations & Community Groups
Potential collaborators: Creative Darlington, Darlington for Culture, local libraries, Youth Partnership, Friends Community Hub.
-Need: Artist-led inclusive programming.
-Benefit: Strengthens community engagement and fosters long-term partnerships.
* Young People & People interested in Heritage
-Need: New ways to connect with culture and tradition.
-Benefit: Accessible, reflective experiences through making and shared storytelling.
* Researchers & Students in Related Fields
-Need: Case studies linking art, heritage, and participation.
-Benefit: Offers Lasting resources and increased academic interest in Darlington’s culture.
* Local Artists & Creatives
-Need: Cultural inspiration and collaborative opportunities.
-Benefit: Inspiration from cultural stories and traditional methods, encouraging heritage-rooted creative practices.
Raise the profile of the creative arts in Darlington:
This project strengthens Darlington’s creative identity through heritage-based co-creation. It builds sustainable partnerships, boosts arts visibility, and fosters inclusive, intergenerational engagement via workshops, exhibitions, and storytelling.
I am an artist, illustrator, and spatial designer with a passion for cultural heritage, storytelling, and architecture. My work bridges illustration and spatial practice to preserve and reimagine traditions through sustainable, community-led approaches. I hold a Master of Arts in Illustration (Distinction) from the University of the Arts London, Camberwell, and a BA (Hons) in Environment and Interior Design from The Hong Kong Polytechnic University. Research-Led Projects:
I develop projects that explore cultural memory and intangible heritage through co-creation and participatory design. Celebrating Chinese Cultural Heritage invited students and the public to reflect on identity through mask-making, drawing, and storytelling. Over 90% gave positive feedback, describing the experience as meaningful. In response, I included upcycled materials to enhance inclusivity and sustainability. Bamboo Craft Festival:
My illustrated spatial project, Bamboo Craft Festival, documented the craftsmanship of Hong Kong’s traditional bamboo scaffolding. I collaborated with a craftsman and university tutor to visually archive the techniques through illustration and on-site research, making endangered knowledge accessible through art and design. Awards & Recognition:
My work has received international recognition, including the Saatchi Gallery’s Art for Change Prize 2024 (Asia Winner), the Society of Illustrators Gold Medal, the World Illustration Awards, the Architecture MasterPrize, Design Educates Awards, and more. It has been exhibited in London, New York, Hong Kong, Beijing, Germany, Shenzhen, and Greece, with an upcoming solo exhibition at Koppel Collective, London. Community & Sharing:
I actively engage audiences through workshops, talks, and publications. I’ve presented my work at institutions like UAL and hosted a solo exhibition at Camberwell. My projects have been featured on platforms like DesignBoom, Creative Boom, and the Saatchi Gallery Press. Future Vision with The Dover Prize:
I hope to use the Dover Prize to build on this foundation, deepen my role as a community engaged artist and facilitator, creating new participatory work with Darlington’s communities. Through workshops, co-design, and storytelling, I aim to foster intergenerational dialogue and inclusive cultural exchange that enriches local identity and artistic visibility.
Yes, I hold degrees in both visual and applied arts at undergraduate and postgraduate levels.
Postgraduate Degree
I hold a Master of Arts in Illustration (Distinction) from the University of the Arts London, Camberwell College of Arts, completed in 2024. This postgraduate study deepened my focus on cultural heritage, participatory storytelling, and socially engaged practice. I developed interdisciplinary skills in drawing, printmaking, animation, and digital media, exploring how illustration can foster cultural dialogue and community engagement.
During my MA, I hold workshops on cultural heritage and identity, using co-creation and storytelling. The sessions received over 90% positive feedback and enhanced my facilitation skills. I also held a solo exhibition and contributed to group shows, connecting with diverse audiences.
Undergraduate Degree
I also hold a BA (Hons) in Environment and Interior Design from The Hong Kong Polytechnic University. The studies developed my interest in cultural heritage and shaped my approach to spatial storytelling, sustainable design, and cross-disciplinary visual communication.
Combined Impact
Together, these degrees have shaped a practice that bridges illustration and spatial design to explore heritage, engage communities, and create meaningful, research-led work—core values I aim to build upon through the Dover Prize.
Yes. I actively seek opportunities to share my work through international competitions, using storytelling and visual communication to connect with diverse audiences. My creative practice bridges art, design, illustration, architecture, and education, and has been recognised with several international awards.
I was selected as the Asia Winner for the Saatchi Gallery’s Art for Change Prize 2024, and received the Gold Medal in Publishing at the World Illustration Awards. I was also awarded Gold in Illustration 65 by the Society of Illustrators, and received multiple Best of Best and Gold Medals in categories such as New Discovery of the Year, Landscape Architecture, Cultural Architecture, Installations & Strutures, Exhibition, Pavilions and Urban Design at the Architecture MasterPrize and International Design Awards.
My work has also been recognised in the Design Educates Awards, CA Communication Arts Illustration 2024, JIA Illustration Award, A’Design Award, Hii Illustration Award, and The Architecture Drawing Prize.
These awards support my multidisciplinary practice and reflect my commitment to illustration as a tool for social impact, heritage preservation, and community engagement. They have expanded my professional network, raised my international profile, and demonstrated my ability to create adaptable, sustainable projects that cross creative disciplines.
Yes, I lead self-initiated projects that focus on cultural heritage, community engagement, and sustainable development. I designed and facilitated workshops for university students and the public as part of Celebrating Chinese Cultural Heritage and Exploring Cultural Heritage, encouraging participants to reflect on identity through mask-making, drawing, and storytelling. Over 90% participants gave positive feedback and described the workshop as meaningful and inspiring. In response, I adapted future sessions to use upcycled materials and enhance sustainability and inclusion.
I also created The Bamboo Craft Festival, an illustrated spatial storytelling project exploring bamboo craftsmanship. This deepened my interest in material-based heritage and place-based research. Additionally, I co-founded InSeal, a social enterprise reimagining traditional seal carving through personalised storytelling and craft workshops with a master craftsman.
The Dover Prize offers an opportunity to consolidate this work and take a step forward in my practice. I aim to deepen my role as an arts educator and facilitator, develop new participatory tools, and explore intergenerational learning in Darlington. By working with schools, libraries, and youth groups, I hope to co-create new methods of cultural exchange through illustration and making—bringing fresh experiences to local people, building lasting community connections, and advancing inclusive, creative learning.
While I have not yet received a formal public art commission, I have been invited as a speaker by the Hong Kong Polytechnic University and guest speaker Hong Kong Baptist University to share my creative practice. These talks focused on cultural heritage, participatory art, and socially engaged illustration. I also provided guidance to students on career development and final projects. These invitations reflect my growing role in art education and public engagement, and my commitment to sharing knowledge and fostering dialogue through visual storytelling.
Yes, My art and architectural design work Revitalizing Cultural Diversity: The Bamboo Craft Festival (2022) has been collected by the Hong Kong Polytechnic University Library as part of their Outstanding Work by Students Collection. This includes digital documentation, interviews, and exhibition of selected student works that demonstrate academic and creative excellence.
This project is archived in:
– Institutional Research Archive: https://ira.lib.polyu.edu.hk/handle/10397/100941
– Outstanding Work by Students platform: https://ows.lib.polyu.edu.hk/s/ows/item/3638
In addition, my award-winning illustrations have been recognised and archived by the Society of Illustrators (Illustrators 65 Annual) and the World Illustration Awards, where selected works are exhibited and publicly documented for professional and educational reference and promotional purposes.
These recognitions contribute to the visibility and legacy of my work within both academic and professional art communities. They reflects my ongoing commitment to combining cultural heritage, spatial storytelling, and illustration in ways that engage both local communities and broader audiences.
Yes. My work has been featured in several recognised art and design platforms. My project Bamboo Craft Festival was published in Designboom, highlighting its spatial storytelling and cultural significance:
Designboom: www.designboom.com/architecture/bamboo-craft-festival-emulates-traditional-urbanscape-celebrates-hong-kong-culture-wincy-kung-01-30-2023
It was also listed on MutualArt: www.mutualart.com/Artist/Wincy-Kung-/85D2F0206023795E
As part of the Saatchi Gallery’s Art for Change Prize 2024, my work was featured on multiple curated platforms and press releases:
www.saatchigallery.com/press/release/mc-saatchi-group-art-for-change-prize-2024
www.saatchigallery.com/exhibition/mc-saatchi-group-art-for-change-prize-2024
www.artplugged.co.uk/mc-saatchi-group-saatchi-gallery-annual-art-for-change-prize-winners
Recently, my work was included in exhibition and workshop coverage for Unfolding Cultural Heritage Echoes at Peckham Levels, shared by both the venue and University of Arts London Exhibition/ Workshop, Studio 3 blog:
www.peckhamlevels.org/events/unfolding-cultural-heritage-echoes
www.studio3peckhamlevels.myblog.arts.ac.uk/2024/11/13/unfolding-cultural-heritage-echoes
These features have strengthened the public visibility of my practice and supported wider engagement with themes of cultural heritage and community storytelling.
No, I am not currently represented by a gallery. However, I actively exhibit my work internationally through curated exhibition and platforms. My projects have been exhibited in London, New York City, Germany, Beijing, Hong Kong, Shenzhen, and Greece and my next exhibition will be held at Koppel Collective in London this July.
While I am not represented by a gallery, I take an independent, multidisciplinary approach to my practice, working across art, illustration, spatial design, and participatory workshops. Through Dover Prize, I hope to foster partnerships with curators and institutions, and establish platforms for socially engaged and culturally rooted art.
I had participated in a group residency exploring cyanotype as a medium for visual storytelling. I used the process to reflect on themes of cultural memory and identity, deepening my material-based practice. The collaborative environment gave me valuable experience as a residency artist and informed my understanding of how experimental processes can support participatory work. This experience contributes to my ongoing interest in combining heritage, narrative, and co-creation in inclusive community settings.
Email: wincykung22@gmail.com
Address: Flat2411, West Tower, Pan Peninsula, London, UK, 1 Pan Peninsula Square, London, London, E14 9HJ, GB
Local Authority: London Borough of Tower Hamlets
