Our exciting exhibition programme continues this year with a brand-new collection of work by artist Marian Edwards, which will open on 21 March 2026. Curator, Henrietta, has been talking to Marian about her life, her work and the serious challenges that she has faced and overcome.

Where it all began

Marian has always been enthralled by visual art; ‘As a child, I thought there was something magical about images. I still do.’ Marian gained an MA in Fine Art from Birmingham City University and a Postgraduate Diploma in the History of Art and Design. She then spent 26 years teaching art in schools and colleges, where she found working with young people constantly motivating.

‘Drawing teaches one to look’

Marian has always worked in a variety of media, including drawing, painting and printmaking. Drawing is at the heart of her artistic practice: ‘Drawing teaches one to look’. Art of all kinds interests Marian, but she finds it particularly empowering to explore the work of women artists.

The 18^th century artist, Mary Delany, created accurate depictions of flowers using collage, a technique which Delany only began using in her 70s. These collages were so accurate that they were admired by renowned botanists, such as Joseph Banks. Hannah Höch is another of Marian’s influences: ‘I have always loved Hannah Höch, who began her career working with needlework transfers.’ Delany and Höch have inspired Marian to experiment with collage in her own practice.

Rediscovering her artist identity

About 20 years ago, Marian suffered a devastating blow, when she became severely visually impaired. Such a loss of sight would have a massive impact upon anyone’s life, but how could a visual artist possibly bounce back? Marian says: ‘After I lost my sight I couldn’t draw, and I couldn’t see art in museums and galleries.’ It has taken Marian many years to regain confidence in her own work. Her visual impairment is permanent and has forced her to rediscover her identity as an artist. Her experience has heightened her awareness of the complexity of sight and how much we undervalue it.

When I asked Marian whether she had faced prejudice within the art world, she responded: ‘Yes, I’m afraid I have. It is difficult to comprehend and imagine a condition we have no experience of, and in my case, I have managed to build on skills and knowledge I previously had. Our perceptions of disability are very rigid and often prevent people from moving on and overcoming adversity. It’s very difficult for another person to understand the issues you still face, or the initial pain of such experience.’ However, there has been plenty of positivity too: ‘The support and stimulation of fellow artists has given me renewed confidence’.

‘Museums and art galleries are central to my life’

Marian continues to draw, and she is experimenting with various media, including printmaking and collage. ‘To return to printmaking, and to discover woodcut in particular, was liberating. Much of my work has developed using collage and printed material. With my limited sight, I find the immediacy and contrast of tone really helpful.’

Despite her disability, Marian has found ways of enjoying art galleries too. ‘Museums and art galleries are central to my life. Although exhibitions are fundamentally unsatisfactory for me now, I am continually amazed how much I still gain, which I believe is evidence of their power to communicate.’ The Barber Institute is a favourite haunt, and Marian has spent hours studying artworks close-up, and making drawings and woodcuts based on items which particularly speak to her.

Much is Lost, Much Remains exhibition

In 2025, we began working with Marian to develop this exhibition at Winterbourne, and one of our volunteers became involved too. Lily Harrison studied for an MA in History of Art and Curating at University of Birmingham, and during that time she volunteered at Winterbourne, first in the shop, and then as a Museum Conservation and Engagement volunteer.

It was while performing this latter role that Lily and Marian met for the first time. Lily describes that occasion, ‘In March 2025, I was sitting in a sun-filled ‘John’s Study’ when Marian walked through the door. I was excited to let her know about the brilliant embroidery behind me, as it is a wonderful example of community and how artwork can bolster that feeling. We started talking about the session she had just attended on ‘Women in the Archives’, and we ended up talking for a long time about women’s roles in the Victorian/Edwardian art world, art education and my own education at the University. It seemed a serendipitous meeting.’

A collaborative exhibition

Lily has worked closely with Marian at each stage, exploring themes for the exhibition, particularly the importance of creativity when dealing with loss. She has researched Margaret Nettlefold’s diaries and other objects in Winterbourne’s collection and has even experimented with photographing herself wearing costumes that evokes the Edwardian period.

The exhibition is the result of a true collaboration. As Lily says, ‘Marian has taught me about gratitude, independence and community in a manner that simply reading about art and history could never replicate. The amount of vulnerability and assuredness a person must command to share their art with the world is immense, and to see these works that represent years of a life lived well and compassionately for fellow artists is inspiring.’

Inspiring the inspired

Marian is inspired by a variety of themes that she has encountered at Winterbourne. The fact that Margaret Nettlefold was an artist and studied at the Birmingham School of Art has prompted reflections upon the importance of art education. ‘The opportunity to work at Winterbourne has prompted me to consider nature afresh, while deepening my interest in the long struggle for art education among women. I have enjoyed collaborating with Lily Harrison, focusing on the painting of Margaret Nettlefold by Byam Shaw, which seems to reflect this pivotal period of change at the beginning of the 20^th century.’

For me as a curator, working with Marian has been an incredibly inspiring experience. I shall never forget the first time I saw her work laid out in her studio. It was such a feast of colour, energy and spontaneity. The quality of Marian’s work speaks for itself, and it is astonishing to contemplate the fact that we, as viewers, can see her work at a level of detail that she herself cannot.

Marian’s passion for education continues: ‘I became interested in access to art for blind and partially sighted people, and with the support of the Barber’s Learning Department, I was able to contribute to developing sessions at the Barber Institute. The workshops and practical sessions I have been involved with have confirmed my belief that becoming absorbed in an activity with the stimulation of others, allows people to achieve far more than they would ever imagine. I feel strongly that all young people, including disabled students, should be given the opportunity to engage in the arts.’

‘Much of what I value is still here’

Marian chose to adapt a quote from Tennyson for the title of this exhibition. The original line is taken from his poem, Ulysses: ‘Tho’ much is taken, much abides’. Marian explains that this quote ‘expressed my growing realisation that much of what I value and has driven me is still there.’ The poem imagines Ulysses (also known as Odysseus), exhausted after the gruelling adventures described in Homer’s Odyssey, and musing upon the fact that, although he is now less able than he used to be, life still offers opportunities and challenges. This is how the poem ends:

‘Tho' much is taken, much abides; and tho'

We are not now that strength which in old days

Moved earth and heaven, that which we are, we are;

One equal temper of heroic hearts,

Made weak by time and fate, but strong in will

To strive, to seek, to find, and not to yield.’

This fantastic exhibition runs from 21 March – 4 October 2026.

Henrietta Lockhart
Curator