The Singh Twins: major exhibition at Wolverhampton Art Gallery

Amrit and Rabindra Kaur Singh are artist sisters who take on women’s history, consumerism and colonialism in their latest exhibition…

An exciting new collaboration between Wolverhampton Art Gallery, National Museums Liverpool and Creative Black Country sees hit exhibition Slaves of Fashion: New Works by The Singh Twins head to the city in July.

From current debates around ethical trade and consumerism through to satirical political portraits, the artists’ latest body of work offers an exploration of the history of trade in Indian textiles as a global story of Empire, conflict, enslavement and luxury lifestyle with modern day parallels.

Recently featured on the BBC’s Civilisations stories: The Empire, the Singh Twins’ work combines traditional hand-painted techniques with digitally-created imagery.

singh twins 1
‘Cotton: Threads of Change’


Life-sized portraits of historical figures are packed with symbolic detail. Each digital fabric artwork highlights a different theme relating to the global story of trade in Indian textiles.

Collectively they reveal not only the beauty and craftsmanship of Indian fabrics but also the interconnected political, social and cultural significance of their histories.

“A key aim of Slaves of Fashion is to reveal how historical trade practices – linked to colonialism, conflict and enslavement seen as unethical today – actually still continue.

“The artworks highlight how we as consumers are part of the problem but also the solution, since we have the power to effect positive change through the choices we make.”

The Singh Twins

A further nine artworks in the series explore how historical narratives connect to current debates around ethical trade and legacies of Empire. These include portraits of politicians Theresa May, Angela Merkel and Donald Trump which draw on the tradition of satirical cartoons.

The King is Dead: Long Live the King (featuring Donald Trump, enthroned on a catwalk) explores how colonial attitudes and labour exploitation associated with the historical trade in cotton, lives on in today’s fashion industry.

Marguerite Nugent, Wolverhampton Art Gallery Manager for Arts and Culture, said: “The Singh Twins have a well-deserved international reputation and we are delighted to have the opportunity to show their latest work in the City of Wolverhampton.”

Visit the Exhibition…

An augmented reality app SINGH TWINS: Art in Motion is available for free download on IOS and Android app stores as well as via The Singh Twins’ website.

An audio-visual poem by The Singh Twins offers a further, artistic response to the interconnected Slaves of Fashion themes.

The exhibition runs at Wolverhampton Art Gallery from Saturday, July 21 until Sunday, September 16 and is a collaboration between National Museums Liverpool, The Singh Twins, and the University of Liverpool.

Slaves of Fashion: New Works by The Singh Twins has been developed in partnership with Wolverhampton Art Gallery and Creative Black Country. The exhibition is sponsored by Investec Wealth & Investment.

About ‘The Singh Twins’

The Singh Twins are London-born British artists with an international reputation whose work has been cited by Professor Sir Simon Schama as representing “the artistic face of modern Britain”. Formal recognition of their contribution to contemporary art includes an Honorary Doctorate of Fine Art from the University of Chester awarded in 2015, as well as being awarded MBE’s in the Queen’s Birthday Honours list in 2011.

All Artwork © The Singh Twins 2018

Learn more…

For more information about The Singh Twins, visit:

‘Singh Twins’ Facebook Page #singhtwins
Creative Black Country is part of the national Arts Council England’s Creative People and Places program, which encourages more people to experience the arts. We work with local people to discover, explore and grow an exciting and meaningful programme of arts activity in the Black Country.

Memory and identity: the art of Sarah Byrne

Artist and teacher Sarah Byrne is interested in memories, nostalgia, narratives and reliability. Her current work forms a reflection of experiences growing up in England as a British girl with an Asian mother.


‘Using and re-using the imagery from my mother’s old photo albums of childhood trips to the Philippines, my practice forms a process of recalling, realising, and questioning the events, exchanges and associations which have contributed to a separation in my two national identities.’


Sarah explores the internal dissonance created by these identities, and her work is an examination of the function of memory…

Sarah Byrne _ Offcut
Offcut (bridge over pool), 2018, A4 prints

Around two years ago, I admitted to myself for the first time that when I was growing up, I had a reluctance to be Asian. My practice is about me reflecting on the reasons why I felt that way.

I was raised in a town where most of my friends were white. I wanted to be like them, because being different meant getting attention, and that wasn’t always a good or welcome thing. When people met me, the first thing they asked was where I was from. When people introduced me, they would often explain “She’s Filipino” as if it were the most important feature I had, or as if it were a disclaimer. When boys in the year below me would bump into me on the playground, they’d break into poor impersonations of Jackie Chan.

Sarah Byrne _ Offcut (1)
Offcut (concrete over grass), 2018, A4 Prints

The work I’m currently making always uses some version of old photographs from my mum’s photo albums, to reflect on and ‘rework’ my memories. Looking at the photographs now, they are different from the reality of my memories – trips to the Philippines which we often had to take during the summer holidays, over Christmas, or sometimes even during parts of school time.

I remember being upset that I was taken away from my friends at these times, that I couldn’t have summers spent at the park like the rest of them. I remember the fear I had that Father Christmas wouldn’t know where I was the first time we spent Christmas away, and my heartbreak at realising we wouldn’t be having turkey and Yorkshire puddings for Christmas dinner, but BBQ’d chicken and rice instead.

I remember the thick, uncomfortable heat and the fact that none of my clothes felt comfortable to wear, and how my feet swelled out of my shoes. I remember being bitten by so many mosquitos that my legs were red and swollen. I remember having to sweep the dead bugs off of my bed each night before I got into it – and the residual smell of the insect spray. I remember feeling isolated because I couldn’t speak the language that my family did. I remember feeling as though they all had an inside joke that I wasn’t a part of. It’s easy to start to feel self-conscious when you don’t know what the people around you are laughing at.

Sarah Byrne _ Offcut (2)
Offcut (Nanang), 2018, A4 Prints

But the photographs are beautiful, and they represent the memories I never really managed to take away with me as a child, because I was too distracted by… being a child. A child growing up in England where I was too Asian, and in the Philippines, where I was too white.

I have become very interested, through this reflective process, in how memories work in the human brain. How fragile and easily manipulated or corrupted they are. The word ‘corrupted’ is interesting to me, because it hints at something more mechanical than human failure. As if the brain suffers from system overload, glitches and malfunctions.

And I think that maybe this is what happens sometimes, particularly as a child. Perhaps we don’t have the capacity to fit in or recognise all of our thoughts at any one point in our lives. Sometimes some thoughts have to be saved, to be recovered at a later time.


That time is now.




Sarah Byrne is a studio holder at Eagle Works, Wolverhampton. You can read more about her work at
She has a show coming up at Eagle Works ( 24th September – 5th October.


  • MA by Research in Art and Design (Fine Art), University of Wolverhampton – Ongoing
  • PGCE (M) Post Compulsory Education, University of Wolverhampton, 2017
  • BA (Hons) Fine Art (1st), University of Wolverhampton, 2015

Banner image: Sarah Byrne, ‘Recording (2018)’ A3 Risograph Print. All images © Sarah Byrne