Hello! I’m Nathan, a graduate of UAL and Sotheby’s Interested in the curatorial sector.

Volunteering as Curious Curator at Seventeen-Nineteen has been a fantastic way for me to realise my ambitions, assisting with the re-development of the Churches’ exhibition and public programmes. As part of our process many volunteers have opted for making objects as part of the display which aim to highlight a significant historical or community matter.

The Victoria Hall Disaster of 1883 shook Sunderland. It was one of the UK’s deadliest theatre disasters, killing a total of 183 children. Such a catastrophic event would prove a testing time not only for families affected but the community as a whole. This proves the case even today, whereby a memorial lies in Sunderland's Mowbray Park and is attended each year as a place to mourn and reflect. The memorial itself was paid for by a disaster fund, it was made possible thanks to the generosity of Sunderland’s residence and beyond. Capturing the resilience of the community, I created paper peepshow to showcase these testing yet hopeful occurrences.

 

Paper peepshows were used as souvenir, memoir or simply a way for people to experience events or scenes which played out within theatre and were popular with Victorians. The construction of a Peepshow is very unlike a book, with wide panels and decorative features typical of the 19th century. I want to reveal some of the iamges of the featured peepshow and how they address a delicate subject, as well as show how they are made.

The original illustrated ‘London News’ cover of the disaster became one of our main archival sources which inspired the imagery within the peepshow. In this instance, the original newspaper was photocopied, and images from the scene were cut using a scalpel knife, metal ruler and back board. It is these scenes which make up the first two of four panels from the peepshow.

Above: The Illustrated London News archive, 1883

As for the furthest two panels toward the back, these signify wreaths associated with the memorial plaque, alongside the dedicated statue. This is a particularly striking spot within the heart of the community and the place which those gather to pay respects. Toward the bottom of the image, the backs of those gathering can even be seen who attended the 2020 services, which took place despite lockdown. The sun and statue connect the overall aestheticand represent a more hopeful place. This rings true in real terms too, as following the tragedy laws were later passed allowing for more outward-opening exits in theatres across the UK.

Making the Peep Show

The panels are connected by pleating paper and using specialised glue or double-sided tape. It is important that that all images are positioned so the viewer has a clear line of perspective by which no image goes unmissed- regardless of how much detail you desire! Once the panels are connected the first and last panel should consist of card, as these will mainly support the structure when propped up-right.

Above: Cutting of images and connecting panels together

Once I connected all the panels, ensuring these were aligned correctly, visitors should be able to peep through the centre and see a visual storyboard, that effectively runs in chronological order. Although this story is a bleak one, I hope that by learning of the past it can represent the power of unity and community at times of sadness. This particularly resonated with me during Covid. With so many unable to hug and restrictions of touch in place, constructing an object that can be interacted with physically and viewed at different levels seemed an interesting concept for an exhibition space traditionally for artefact or precious antiquity.

I’d finally like to thank supportive volunteers and Lily as effective leader, for the wider opportunities but also for supporting and assisting me in my projects, including this one.