SHAPE SHIFT
A new collaborative exhibition from Hospital Rooms in partnership with the Fitzrovia Chapel as part of the Fitzrovia Chapel’s Cultural Programme 2025
Hospital Rooms River Centre Project at Hellesdon Hospital, Norfolk and Suffolk NHS Foundation Trust in collaboration with Norwich University of the Arts
Dates: Thursday 13 - Tuesday 25 March 2025
Opening Times: Daily 11am to 6pm (Sunday 12 noon to 5pm)
Artists: Sarah Dwyer, Errol Francis, Michael Landy, Ghislaine Leung, Shepherd Manyika, Jade de Montserrat, Ken Nwadiogbu, Ṣọlá Olúlòde, Nengi Omuku, Fabian Peake, Heather Phillipson, Holly Sandiford, Dolly Sen, Mark Titchner, Rosa-Johan Uddoh
Co- Curators: Dr. Sophie Bagge, Fenn Harris, Mark Jennings, Su Pashley, Jodie Rowe, Holly Sandiford, Tim A Shaw, Dr. Nicola Simpson, Tim Steer, Niamh White
Shape, Shift has been informed by a research collaboration between Norwich University of the Arts, Hospital Rooms and a Lived Experience Team of co-researchers who are evaluating this large-scale multisite Arts Intervention at Hellesdon Hospital. In a series of monthly workshops using creative, arts-based and material research methods, the lived experience co-researchers have engaged with a creative, critical and embodied retelling of the old and new hospital spaces by those who have lived and will live there. These artistic outcomes will be represented in the Fitzrovia Chapel in cyanotype and sound installations which invite the audience to use all their senses to experience the personal and the public transformation and impact of the arts in mental health hospital spaces.
Tim A Shaw and Niamh White are Senior Research Fellows at Norwich University of the Arts.
Dr Nicola Simpson, a Research Fellow at Norwich University of the Arts, led the Lived Experience Team for the project with Dr Sophie Bagge (NSFT).
The Fitzrovia Chapel
The Fitzrovia Chapel is an enchanting jewel of Byzantine inspired architecture located in the heart of the Fitzrovia community. As the former chapel of the Middlesex Hospital, it is a place of meaning, memory and sanctuary for many. Today the chapel is an enriching cultural space for creative health and wellbeing.
It offers a distinctive artistic programme, supporting emerging and established artists and learning opportunities. The chapel is a space for quiet reflection, discovery and celebration, connecting a diversity of communities, visitors and partners.
A registered charity without public subsidy, the chapel’s charitable activities and preservation of the building are mostly funded through commercial hire. This includes weddings, exhibitions, book launches and shoots. The Fitzrovia Chapel is open to everyone of all faiths, beliefs, backgrounds and cultures.
Cover detail: Fabian Peake, The Forest, 2024, Hellesdon Hospital. Photographer Damian Griffiths
FLOORPLAN
MARK JENNINGS
LIVED EXPERIENCE TEAM
WORKS BY ALL ARTISTS
SARAH DWYER
SHEPHERD MANYIKA
FABIAN PEAKE
HOSPITAL ARTWORKS
Sarah Dwyer
Errol Francis
Ghislaine Leung
Michael Landy
Rosa-Johan Uddoh
Shepherd Manyika
Jade de Montserrat
Nengi Omuku
Ṣọlá Olúlòde
Fabian Peake
Heather Phillipson
Holly Sandiford
Dolly Sen
Mark Titchner
Ken Nwadiogbu
LIVED EXPERIENCE TEAM
Cyanotype
Sophie Bagge
Fenn Harris
Mark Jennings
Jodie Rowe
Holly Sandiford
Nicola Simpson
Sound Artwork
Wards extended, 2025
Mark Jennings
PUBLIC PROGRAMME
12th March 6-8pm
Opening event
15th March 10-11am
BSL Tour with Rubbena Aurangzeb-Tariq
20th March 6.30-8.30pm
Shape Shift Converse Rework
A sound performance by Mark Jennings and artist conversation interrogating the complexities in re-envisioning mental health spaces
Moderator: Siphiwe Mnguni
Speakers: Sarah Dwyer, Mark Jennings, Sola Olulode
Quiet Hours
Thursday 13 March, 4pm - 5pm
Tuesday 18 March, 10am - 11am
Thursday 20 March, 4pm - 5pm
Tuesday 25 March, 10am - 11am
Shade Podcast
Listen now to a discussion moderated by Lou Mensah with Sarah Dwyer, Ken Nwadiogbu and Sophie Bagge
Shape, Shift, Converse, Rework
by Fenn Harris
The Rivers Centre Project at Norwich’s Hellesdon Hospital (2022- 2025) is arts and mental health charity Hospital Rooms’ most ambitious project to date. Hellesdon Hospital is part of the Norfolk and Suffolk Foundation Trust (NSFT), a trust that has been subject to ‘inadequate’ CQC ratings and special measures enforcements in the past decade.
Hospital Rooms and NSFT hope that the introduction of 15 artworks by world class artists, co-produced with service users, will nurture peoples’ creative potential, connect them with a community and offer a bespoke and creative value to these therapeutic spaces.
‘In terms of the environment, we understand that what we see around us sends a very clear and explicit message about who we are, what we can expect, and how we are understood. That being offered different means of expressing ourselves, and having those stories and creations validated is affirming and essential. That through the visual arts, poetry, music, literature, we can see one another in our full humanity, in our full complexity and with compassion.’
-Niamh
White, Co-Founder of Hospital Rooms
All artists have all been involved within the community in Norfolk, offering exciting and inspiring workshops for both inpatient service users and within the community, which included carers or friends and family.
Hospital Rooms will be exhibiting this project at the Fitzrovia Chapel from the 1325 March 2025.The Fitzrovia Chapel, the chapel for the former Middlesex Hospital, remains a place of sanctuary, calm and contemplation. It also presents its own annual cultural programme often based on these themes.
Errol Francis, Rhomboids, 2024, Hellesdon Hospital. Photographer Damian Griffiths
The site feels particularly pertinent for this exhibition, exploring how spaces make us feel and what they represent. Atmosphere and environment play a fundamental role in how people behave, communicate and connect - a thought that stays at the front of the mind of those involved with this Hospital Rooms project.
Hellesdon Hospital first opened in 1880 and whilst used as a military hospital during the 1900s, the majority of its purpose has been to house and treat patients experiencing difficulties with their mental health. In recent decades, the working psychiatric hospital has been split between its 150 year old original buildings with newer inpatient wards on the lower parts of the site. This transformation moves the entire community into this lower plateau. Modern architecture houses three brand new wards each offering the renamed Hellesdon Rivers Centre 15 additional beds, revamps other wards, adds a purpose built gym, courtyard gardens and wrap-around green space with a community hub at the centre.
Each artwork has been carefully created with service user and carer workshops and feedback at the heart of the project, identifying themes, hopes and atmosphere for this new therapeutic space.
Hospital Rooms understands the value that service users’ and carers’ knowledge can bring, with real experience living in these spaces at some of the most difficult or isolating times of their lives, meaning each artwork from idea to completion was created and considered collectively. Some of the artworks with text transcribes real quotes from these particular workshops. Sculptures will be dotted around the grounds surrounding the site, giving interest in the open, natural spaces for inpatients, visitors and staff.
The Lived Experience Team (LET) involved in this project, who all had experience as inpatients, always kept curiosity and creativity in mind throughout this process. Working alongside Hospital Rooms and NSFT, they were able to record site-specific material in both old and new spaces through sound and image and then explored, through various media, what those spaces meant, how they felt and
how it feels to be within those spaces. It brought up important discussions around liminal space, transition between old and new and how mental health spaces are experienced. Each co-workers’ involvement was for the improvement of service user experience within these spaces as well as offering holistic approaches and discussions to mental health care as a whole.
The lived experience co-researchers have always held the purpose of these buildings, the people within them and the history and development of mental health care in the UK as their priority. Recordings, annotations and photographs were captured in both old and new sites of Hellesdon Hospital. This material sparked discussion and consideration of how it feels to live in these spaces, the attitudes old and new, and how the atmosphere of mental health spaces can affect the care within. The LET created a collaborative cyanotype piece, connecting the historical and modern environments and the liminal space in between.
Fabian Peake’s artworks are dramatic and performative explorations of imagery and text with bold shapes and colours. Fabian’s work for Hellesdon Rivers Centre comprises, two pieces, both depicting written stories taken from workshops with service users, scribed in his signature mirror writing with choice words with consent written forwards. This was inspired by his workshop titled ‘Tell me a story of your life’, where service users were invited to tell a small or big autobiographical story. Fabian said:
‘This would involve them writing about themselves and their experience of life. Because the commission is located in a hospital, it seems fitting that the content of the words is associated with the environment in which they will be placed.’
Fabian Peake, Artist
The words are contained in a sharp lined house shape that contrasts the empty space of the wall surrounding it, sparking discussions about confinement, shelter, community and the idea of home.
Sarah Dwyer is an Irish artist who uses painting and printmaking to “reimagine
the familiar through exuberant colour and built up surfaces.” Sarah’s piece was an encompassing and immersive mural that spread across full walls within the living area of the Rollesby Ward, a Psychiatric Intensive Care Unit at Hellesdon Hospital. This piece was inspired by workshops where Sarah used life drawing in quick poses that promoted the ideas of expression and movement, stepping away from the mind and focusing on form. Comments from the workshops were that ‘it was a great equaliser’, ‘removing yourself from reality and taking you elsewhere’. Despite her artwork following the same process as the other works, with collaboration and inspiration from the service users, carers and community, a decision was made to remove the artwork from the ward. This exhibition offers the opportunity to pose questions around this erasure and explore the frictions and contradictions where different disciplines, modes of thinking and sensibilities meet.
Albeit a huge step for this NHS Trust and the size of project for Hospital Rooms, there have still been barriers along the way leaving thoughtful discussions to be considered, about contemporary art in inpatient spaces, lengthy build and bureaucratic processes, the stigma around mental health and whether co-production is where it should be. It is important to keep these in mind and continue discussing with curiosity to make change positive and sustainable.
‘It is extremely important that in imagining new worlds, we do not forget the past, reparations must be part of new structures and the stewardship of ideas and histories must be folded into models of exploration (always plural, never singular).’
Penny Rafferty
It is true that NHS mental health buildings have not been maintained across the country, yet, with considerate commissioned artwork from these talented artists, there can be a reminder of the value and demand for these purpose built facilities and how ‘built for purpose’ buildings feel.
More importantly, dignity, value, community and creativity come to mind when picturing the future of the Rivers Centre Project initiative.. The data within the annual National Confidential Inquiry into Suicide and Safety in Mental Heath (NCISH) published in October 2024, showed concerns around safety within mental health inpatient services. One of the main clinical focuses recommended in the report, along with safety within inpatient units, was creating a therapeutic ward environment. The feeling from the report was that even with increased safety measures such as removal of personal items and increased observations, there were still deaths occurring within these inpatient units. The recommendation suggests that creating a better therapeutic environment could prevent such risks increasing in the first instance rather than reacting during risk and crisis points in a non-therapeutic environment.
Through this exhibition, we have tried to maintain the vibrancy and alive-ness of both the process through which these artworks were conceived and the active role they take today within the confines of the Hellesdon Hospital.
Mark Titchner, Like There is Hope and I Can Dream of Another World, 2023, Hellesdon Hospital. Photographer
Photographer Damian Griffiths
Like There is Hope
by Niamh White
Hospital Rooms radically re-envisions environments in mental health hospitals. This exhibition, sited within the Byzantine inspired architecture of the Fitzrovia Chapel, which was so intentionally designed to enchant, console and connect people, poses pertinent questions around the potential in re-working the qualities of clinical mental health spaces.
In 2024, a national HSSIB report concluded that ‘built environments for mental health inpatient care contributed to patient harm’, with testimony describing them as ‘grim’, ‘oppressive’ and ‘like prison’. There is a pressing need not only to re-invent these spaces but, with the coming reforms of the Mental Health Act, also imminent opportunity to test wildly different propositions that might profoundly humanise and dignify them. Beyond the needs of the built environment to meet compliance, are the needs of those cared for within those walls, be they spiritual, creative, ethereal.
From 2022-2025, Hospital Rooms commissioned 15 world class artists to work with communities of patients and
staff at Hellesdon Hospital in Norwich and create major artworks that might interrupt conformity with institutional expectations at the newly built Rivers Centre mental health facility.
Through this process of collaboration, imagining and working; new and poetic dreams came into being. At the same time, personal, domestic, institutional and clinical narratives collided, and the necessity to critically examine which modes of knowledge and which voices were heard arose. This exhibition attempts to navigate these collisions, and to generate further discussion that elevates and contributes to the work of Hospital Rooms.
This project has been stewarded by the Hospital Rooms team, who take up the complex position of guest of the mental health hospital, and host of the artists and project participants. They have attempted to create conditions in which all those taking part contribute to re-shaping the ways in which we relate to one another and attempted to re-envision spaces.
Jade de Montserrat, thoughts in the making, 2024, Hellesdon Hospital. Photographer Damian Griffiths
The collaborative process for the project took place across numerous sites that reflect the journey a person might take through the mental health service. From inpatient wards where the environments retain the tightest restrictions and constraints, to community based sessions within the de-commissioned Main Hall at Hellesdon Hospital, to Norwich University of the Arts, Norwich Castle and the Sainsbury Centre. Each has lent its own set of conditions, challenges and inspirations and each has played a key part in this project.
Our Process
The process Hospital Rooms has developed to commission artwork for mental health hospitals is one of iteration. Each phase of the project is flexible and responsive to the dynamics and situations we find ourselves in. This is in stark contrast to the medicalised modus operandi that a mental health ward operates within and we endeavour to inject qualities of ambiguity and subjectivity, multiplicity and creativity within an ordinarily rigid system.
Through a research and development phase, we learn the needs, challenges and preferences of the community we will work
with to craft the project aims and design. Based on this knowledge, we select artists who bear some relevance to or have some shared experience with the community. Artists facilitate creative workshops with service users and NHS staff aimed at collaboratively conjuring new ideas of how mental health services should look and feel. Artworks that have been informed by these sessions are fabricated to meet all of the clinical requirements of the mental health space and are installed to museum quality.
Over the past two years and with Norwich University of the Arts, we have worked with co-researchers who have lived experience of the mental health system and who have generously and generatively reflected on Hospital Rooms’ project design and delivery to determine the areas in which we hold ourselves to account. The same group have co-curated this exhibition, bringing to life those questions and conversations.
The Rivers Centre
Through this project, 15 new artworks have been commissioned for the newly built Hellesdon Hospital and three of its surrounding wards. Each has been created through collaboration with the hospital
Holly Sandiford, Retreat Rooms, 2024, Hellesdon Hospital, Photographer Damian Griffiths
community, each takes a holistic approach to space, and each presents a radical new vision for what mental health services could look and feel like.
The place is complex, still having the remains of the de-commissioned hospital on the grounds, together with its ephemera and legacy still lingering. The existing wards continue to deliver care to patients, while a new building is erected. A multiplicity of experience is live at the site, and there is a very real potential for weaving and folding these together in the imagining of new possibilities.
In In November 2023, co-researchers in the Lived Experience Team and Dr Nicola Simpson, Research Fellow at Norwich University of the Arts, staged an exhibition titled Hellesdon Hospital and the Art of Recovery that invited its audience in the words of one expert by experience, to get “curious about the story” of mental healthcare across the last three centuries (Nicola Simpson 2023). In 2024, the group also undertook an investigation of the old Hellesdon Hospital site using the Photovoice Methodology, through a Field Sound Recording session and through further artist-led workshops. The process offered different means and languages for different hospital communities to consider their relationship to the hospital site (Nicola Simpson 2023).
Through the Hospital Rooms project, the accompanying and adjacent investigative work by the Lived Experience Team as well as this exhibition and publication, one might question what potential for reparations this situation might present. What does the stewardship of those legacies and histories look like and what role might a project like this play in that?
Artworks
The artists involved in this project have contributed their own unique situated responses to the hospital setting and the community we have worked with. Ghislaine Leung, who uses ‘score based instructions to radically re-distribute and constitute the terms of artistic production as a means to institute differently’ cocreated a publication titled 10,000 words in my head following workshops where
inpatients were invited to reflect on what an ideal mental health ward would look like. Recurring ideas of comfort, light and plants informed Leung’s instruction to Hospital Rooms with the following score:
Atrium and Lightwells
Score: All available surfaces of a light well are mirrored.
Softs
Score: All available starting In a room is given cushions.
Gardens:
Score: All remaining exhibition budget is spent on planting.
Leung set down clear terms of engagement that disrupts the usual power dynamic within a mental health service. Distilling the wants and needs of those she worked with, she leverages her commission to instruct an ordinarily impenetrable structure to respond. Throughout this exhibition, her score has been reiterated albeit in necessarily different ways.
Other artists have equally managed to employ techniques that offer alternate ways of thinking and knowing. Fabian Peake invited participants in his workshops to tell a story from their life. He has recreated these stories in his characteristic ‘mirror writing’, hand painted directly onto the walls of the unit. The letters perceived backwards slow legibility and question direction. Within the stringent conditions of a mental health ward, the fluctuating and ambiguous nature of a personal narrative is explored. The possibility for openness, interpretation and play ignited.
Ṣọlá Olúlòde explored tactile modes of knowledge through a series of workshops with Black and Brown students at Norwich University of the Arts. Titled ‘Exploring Softness’ the session seeked to ask what softness meant to them. Beginning the session with grounding breathing exercises, participants then learnt traditional fabric-tying techniques using soft cotton, elastic bands and string. Inspired by Nigerian Adire dye techniques, students played with colour and feelings to create motifs that were unique to them. Solá embedded qualities
of these conversations and visuals into a monumental artwork for an inpatient ward at the Rivers Centre. Swathes of washy colour sweep across the rafters of the lounge depicting reclining and embracing figures and a glowing sunset.
Immutable institutional narratives were also toyed with by Errol Francis, who invited patients from the hospital to the Sainsbury Centre to photograph items from the collection that resonated with them in front of coloured paper. On the same day, inpatients on the hospital wards were invited to undertake the same act with 3D printed replicas. Francis selected numerous compositions to create his artwork and presented them as a series of rhombus or diamond shaped tiles. The title ‘Rhomboids’ refers to Greek mythology which holds that Hephaestus, the god of fire and volcanoes, created diamonds that have magical qualities and give the wearer courage, strength, and protection. The artwork attempts to enhance the visual experience in the hospital with images of objects from a museum collection not accessible to inpatients captured by their own hands.
Similarly Dolly Sen and Michael Landy toy with the nature of signage. Both conjure softer, sillier, means of way finding, that may lead to unexpected ways of being. Phrases such as ‘Look for the rainbow in the rain’, ‘In the dark Look for stars’, ‘Bird song’ and ‘Hopeful Sunshine’ allude to intangible, moveable, elusive actions and places that are deeply connected to the natural world. In departure from the rigidity of the standardised NHS sign, these might be the direction of a friend, or of Gaia herself.
A connection to the earth and the environment became an essential player in this project. Artists and collaborators have seemed magnetically drawn to the interconnectivity of our mental and planetary health and numerous artworks make reference to this. In further inspiration for modes of collaboration and communal world making, we might link to the thousands of studies cited by Janine Benyus, that show ‘how plants chaperone and enhance their neighbours growth, survival and reproduction... with the more stressful
environments, the more likely you are to see plants working together to ensure mutual survival’. She encourages us to see ourselves in this light, not as consumers and competitors, but as ‘helper among helpers in the planetary story of healing’.
(Janine Benyus, 2022)
Holly Sandiford has taken the opportunity to engage nature as a collaborator in her process. Having created experimental images using entirely sustainable materials including plants, expired film, washing soda and vitamin C powder with patients on mental health wards at the hospital, Sandiford went on to create an installation informed by this process and the group’s response to the work. She took photographs of the tree canopy surrounding Hellesdon Hospital, soaked them with vegetation and greenery gathered from the site and then buried them to allow the plants’ natural chemicals to interact with her compositions. The resulting images are dreamy and unexpected. Their subject had a literal and enigmatic hand in their becoming.
Jade de Montserrat’s work thoughts in the making engaged with ‘environmental concerns while honouring her own neurodiverse thinking/living/making.’ A text from the cultural theorist, political philosopher and artist Erin Manning was read aloud during Montserrat’s workshop, whose concepts of “livingloving”, “backgroundingforegrounding” and “nestingpatching” have formed the basis of multiple vast wall texts. The background element of the artworks, as Montserrat describes, draws from imagery made by inpatients during the workshop, and ‘pays tribute to our shared natural world and our inseparability from the earth.’ (Jade de Montserrat 2024)
At the same time, Shepherd Manyika takes us outside, with sit-listen-reflect LIGHTER FOR LATER, a series of sculptures to be traced and followed around the hospital site, enticing people to explore the surrounding area and connect with the green space and air. Natural imagery is also employed in the spirit of empowerment and freedom with Ken Nwadiogbu’s large-scale mural depicting a lotus flower, which symbolises resilience and transformation.
In a disempowering and often restrictive environment of the mental health ward, the charged and complex notion of freedom was fraught and divisive. So many liberties are taken away in these settings - from stipulations on ability to leave the site, to access to personal belongings in the name of maintaining safety, to the care that one receives. Attempting to maintain some notion of freedom, be it in the mind, or in whatever form it may take, is a gargantuan task. One might argue that an artwork or an ability to engage in a creative act might offer a means of escapism, of hope.
Painter Nengi Omuku put the question to the group of people she worked with directly, ‘What does Freedom mean to you?’ Drawing inspiration from Leonora Carrington’s ‘Pomps of the Subsoil’ in the Sainsbury Centre, Omuku invited participants to respond to the question and the artwork through collage. The resulting discussions led to the creation of an expansive mural titled by one patient What the moon takes away, the sun brings back and featuring innumerable hot air balloons rising into a glowing pink and yellow sky. The artwork explores ways of accessing freedom, through the act of painting and the experience of looking, in space both architecturally and internally.
Sarah Dwyer’s artwork Shapeshifters took on an equally ambitious scale, covering the walls of the Rollesby Ward and expanding along 20 metres of wall space. Inspired by a series of embodied exercises where participants were encouraged to vigorously draw 20-second images, engaging their bodies in movement and visceral feeling rather than rational thought, the mural encompassed a series of abstract figures as if moving through a landscape.
Shapeshifters was subsequently removed from the ward following complex and situational responses to the work. Reincarnated here in the Chapel, we invite further contemplation and conversation on the nuances of these settings, the power dynamic in mental health services and the role of risk, courage, failure and criticality.
Rosa Jonah Uddoh’s collaborative sessions took their starting point from hundreds of science fiction novelist Octavia Butler’s own motivational quotes. The group were drawn to those alluding to freedom of thought and expression. Butler’s own nuanced approach critically questions how one might live the life they want, while being acutely attuned with the wider social and health inequalities, prejudices and racism. Above and beyond this, the group reflected on the power of words within a psychiatric setting, and acknowledged the extreme nature of being on a ward. The critical importance of honouring the full spectrum of that experience without shame or sugar coating led to the creation of Uddoh’s artwork, a large scale outdoor mural stating ‘COURAGE! Freedom is a constant struggle, but it continues to exist’, the first part a quote from Angela Davis, and the second an adaptation added during the session by an NHS worker.
We might question if there are means through which a transformation of a mental health service might be in reach, or if individual resistance is as best we can hope for. Mark Titchner’s monumental artwork on the side of the new Hellesdon Hospital building throws this into question, ‘Like There is Hope and I Can Dream of Another World’. The phrase arose from a Hospital Rooms interview with Julia Foxon, who has experience of inpatient mental health services. (Above) With Mental Health Act reform now moving forward, dare one imagine this ‘Like’ might shift from an as if, to a there is.
This is a unique and situated project that is fraught with contradictions, conviviality, conflict, collaboration, challenge, innovation, reparation and possibility. Central to the work is the embrace of the unknown, the acceptance of doubt and the potential of the new.
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“It’s nice to be treated how everyone should be”
Service-user workshop participant, Hellesdon Hospital
Ken Nwadiogbu, Lotus Flower, 2024, Hellesdon Hospital. Photographer Damian Griffiths
