Peepers was a site specific installation at the Brighton Pavilion, UK, commissioned by the Brighton Pavilion and Arts Council, England. The work consists of five large duratran lightbox units installed into the Pavilion's decadent Music Room, creating the illusion of a new view beyond the windows of the room.
The installation is inspired by the scrutiny experienced by the Pavilion's original resident, George IV, from a society which became obsessed, fascinated, intrigued, even disgusted by his life in the extravagant Royal Pavilion and detached from the reality of the outside world.
A collection of photography and accompanying jewellery. Each photograph is a modern day re-interpretation of a historical painting where jewellery is at the centre of the image’s meaning. Accompanying jewellery act as key props within each of the images. When depicted in the photograph the jewellery appears traditional and unremarkable, but experienced physically we witness illusion is at work.
Which Way To Go
Big Fake is Little Real
Keep Them Sweet
Presentation at a Group Crit
Diamond Geezer's Brooch
An Ode to Hill and Adamson
A three minute short film by Maisie Broadhead and Jack Cole, commissioned and exhibited by the National Gallery, London for the 'Seduced By Art' exhibition. The film has also screened on Channel 4 in the UK.
By recreating a photographic portrait of Lady Eastlake (1843-1848), by the pioneering photographers David Octavius Hill and Robert Adamson, the film lays bare the many tricks and illusions at work in the construction of a single staged image.
An Ode to Hill and Adamson
First Book of Fashion
The First Book of Fashion is a series that tells a fictional modern-day narrative that is inspired by Matthäus Schwarz, a 16th century German accountant, who recorded his clothes in what has become known as 'The First Book of Fashion'.
A Young Man's Progress was a collaboration between two sisters; Maisie Broadhead, and Isabella Newell and Professor Ulinka Rublack, cultural historian at Cambridge University.
A photographic series portraying studies of three generations of women from the artist's immediate family. The series references the iconic, repeating compositional styles of two historical painters - Johannes Vermeer and Vilhelm Hammershøi.
Zoe Study 1
Zoe Study 2
Caroline Study 1
Caroline Study 2
Isabella Study 1
Isabella Study 2
Maisie Study 1
Maisie study 2
Malou Study 1
Malou Study 2
Other Allegories of Love
A series of objects and images commissioned for the Jerwood Makers Open.
This series re-works the Renaissance painter Paolo Veronese’s series Allegory of Love (1575), drawing on Broadhead's personal experience and family history. Four images with accompanying objects interpret these four different facets: Scorn; Unfaithfulness; Respect and Happy Union. Central to each of the four tableaux is a three-dimensional prop, handmade from wood, glass, plastic and metal. Each choice of material and its manifestation is symbolic and key to the narrative within the final work
Taking the Chair
A joint project between mother and daughter. ‘Taking the Chair’ was Caroline and Maisie Broadhead’s first major artistic collaboration. The collection is inspired by seven paintings by masters such as Vermeer, Velasquez and Magritte, in which a chair has a powerful presence. The chair is the point at which Caroline and Maisie’s work meets, showing seven of Maisie’s photographs, which feature seven of Caroline’s chairs, with image and object displayed alongside each other.
Standing at a Machine
Sitting at a Machine
Head to Head
Death of a Project
Jack with Newspaper
On display at the Marsden Woo Gallery, London
Girl with a...?
She Pulled My Heir
A photographic re-enactment of one of William Hogarth's 'The Rake's Progress' paintings using Broadhead's immediate family, turning Hogarth's 'The Heir' into an unusual family portrait.
The image exhibited (or hid) amongst prints of Hogarth's original paintings in Pitzhanger Manor, London as part of the 'Bottom Drawers' exhibition.
Hall of Fake
Rose Tinted Monocles
Broadhead's friends and family masquerade as peculiar Victorian portraits.
Made in Britton
Portrait of potter Alison Britton referencing Johannes Vermeer’s The Milkmaid. Alison holds a 13th – 14th century English earthenware jug from Bernard Leach’s source collection, Crafts Study Centre, Farnham, UK, surrounded by a number of her own works.
Created for the exhibition Memoranda at the Crafts Study Centre, Farnham, UK. An exhibition that casts the light of memory on contemporary artworks and on items from the collections from the Crafts Study Centre, curated by Tessa Peters and Janice West and including works by Maisie Broadhead, Stephen Dixon, Laura Potter and Elaine Wilson.
18ct Gold clips, ikea paper and glass
A installation at Pitzhanger Manor in Ealing, part of the exhibition Bottom Drawers.
Domestic Jewellery was a collection of silver jewellery.