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Let's go fly a kite

Ahmadzia Bakhtyari has been hard at work over the last few months, making kites which will go into our World Gallery in Spring 2018.

Watch this video below to see how he has made these kites.

You can meet Ahmadzia at our Refugee Week event on Saturday 24 June, and take part in his free kite-making workshops. Once you have made your kite, come and fly it with us in the Gardens at the end of the day.

Find out more about Refugee Week 2017 at the Horniman or the World Gallery.

Celebrating LGBTQI refugees in the UK

It is Refugee Week from 19 - 25 June. The week takes place every year across the world and we spoke to Rainbow Pilgrims about their work with LGBTQI immigrants, refugees and asylum seekers.

  • Rainbow Pilgrims, Rainbow Pilgrims at the Horniman, Mary Humphrey
    Rainbow Pilgrims at the Horniman, Mary Humphrey

Many wonderful and talented people have had to flee their country of origin because of their sexual orientation or gender identity. Research shows that 76 countries still prosecute people on the grounds of their sexual orientation – seven of which punish same-sex acts with death.  Still, even in countries that have supportive legislation, many LGBT people feel unsafe. DJ Scotch, now based in Manchester, found it too risky to come out as lesbian in his Zulu community and was only able to transition from female-to-male safely here in the UK. He reflects on how his life would look like these days back in South Africa,

Walking in the street, what would I be inviting? I would be so insecure about why people are looking at me and what they’d be thinking. I would be uncomfortable, basically. Let alone to transition, it would be dangerous… Already people there are confused about lesbians, and how then would I even start explaining myself as being transgender?

We believe there’s generally still a lack of awareness how amazingly diverse the UK’s immigrant population actually is, and that some refugees and asylum seekers are lesbian, gay, bi, trans, queer/questioning or intersex.

  • Rainbow Pilgrims, Rainbow Pilgrims at the Horniman, Mary Humphrey
    Rainbow Pilgrims at the Horniman, Mary Humphrey

The project Rainbow Pilgrims: The Rites and Passages of LGBTQI migrants in the UK aims to fill this gap and give LGBTQI immigrants, refugees and asylum seekers a platform to tell their stories and celebrate their diverse identities and backgrounds.It is supported by The National Lottery through the Heritage Lottery Fund and hosted by the charity Liberal Judaism.

Learn more about DJ Scotch’s experience, listen to other LGBTQI migrant stories and watch our new trailer #shareyourRPstory on Rainbow Pilgrims.

We are extremely excited to be working alongside the Horniman on various events around the heritage of LGBTQI migrants in the UK. In fact, our great collaboration already started earlier this year at the annual Crossing Borders Day in March. We invited our friends from Micro Rainbow International to explore the concept of storytelling using museum objects. Micro Rainbow International UK works with LGBTI asylum seekers and refugees to heal through the arts and combats isolation.

  • Rainbow Pilgrims, Rainbow Pilgrims at the Horniman, Mary Humphrey
    Rainbow Pilgrims at the Horniman, Mary Humphrey

Together we can create better understanding between different communities and to encourage successful integration, enabling LGBTQI and indeed all refugees to live in safety and continue making a valuable contribution.

For more information and to get involved please contact project manager Shaan Knan via rainbowpilgrims@liberaljudaism.org or contact the organisation via their website

SEND schools programme shortlisted for award

We are very excited that our SEND school programme has been shortlisted for a Museums & Heritage award this year. Here to tell us more about the programme is our Schools Learning Officer, Maria Magill. 

'The question I get asked most is, 'What do you do when you’re not teaching?' Among other things, I get to work on developing our offer for schools, particularly for special educational needs schools. This is one of the most fun aspects of my job.

Our programme of sensory sessions and resources has been shortlisted for a Museums & Heritage Award this year in the category of Education Initiative. The Schools Team couldn’t be more excited!

SEND Sensory Session: A Musical Adventure was developed as part of the legacy of a project with Peoplescape Theatre Company. It is a music session using instruments from Brazil and Nigeria. Pupils help a character ‘Rebecca’ and travel to each country to collect instruments to bring back to the Museum.

Encountering storms on the sea (making wave sounds with our ocean drum), visiting the Brazilian rainforest to be surrounded by butterflies and birds (fluttering tissue paper shapes), and helping to pack a suitcase, as well as learning a Yoruba song of welcome, all form part of this fun session.

SEND Sensory Session: Ancient Egyptian Mummification was developed due to teacher requests. Pupils engage with a sensory story exploring how Mr Horniman collected artefacts from Egypt.

They explore the process of mummification through a range of sensory experiences and objects. They have a go at bandaging, exploring the spices and tools used in mummification (salt, frankincense, cedar oil, beeswax) and handle real Ancient Egyptian objects including a mummy mask.

Alongside the sessions, we’ve worked to make the Museum visit more accessible and inclusive.

There is a social story on our website showing the rooms schools will visit, the things they will see and who they will meet.

We’ve had training to help us incorporate Makaton signing into our sessions and we’ve got software to enable us to create Widgit flashcards as another communication tool.

We’ve had a rethink about how we set up our workshop spaces, changed our tablecloths to make objects easier to see and made cushions available to sit on the floor.

  • SEND schools programme shortlisted for award, Widgit cards
    Widgit cards

Next steps involve creating a new science sensory session linked to our Aquarium and creating a day schedule using Widgit cards which we can share with schools before they visit.

To be shortlisted for a Museum & Heritage Award shows us that we are on the right track, and gives us a renewed burst of enthusiasm to keep improving our offer, making it more accessible for all participants, and to keep improving our professional practice. We’ve just started and we’re excited to keep going!

If you would like to find out more or book a session please contact us at 0208 291 8686 or email schools@horniman.ac.uk.

For more information visit this SEND group page on our website.'

Redstart Arts Discovery Box

Redstart Arts have been running creative projects at the Horniman for several years. Here, artist Cash Aspeek describes their current work on the Discovery Box project.

Over fifteen different community partners are helping the Horniman create new boxes that will be used by visitors and groups for years to come. They are like mini museums, selecting a group of objects that follow a theme chosen by the group.

Redstart Arts are making their own Discovery Box for the Horniman. The objects the group are choosing are from the Horniman’s Handling Collection as well as handmade objects by the Redstarts (artists with learning disabilities) themselves, made especially for the project.

Redstart Arts’ theme is ‘Protection’.

During the past two years, the Redstarts have become familiar with the Horniman's galleries and many of the objects displayed in them. Each Redstart artist has had been allowed the time and space to select objects that they are particularly drawn to and make studies of them. These objects all had the common theme of protection.

All the sessions for this project involve a group activity where we come together to look at and experience a selection of objects.

Each Redstart is able to connect to different areas of the Horniman's collection and show their interest in the form of drawings, photographs, and conversation, which may come about through storytelling and dramatic scenarios.

The artist educators and Horniman staff are excited with the way the project has developed and are captivated by the incredible focus of the individual Redstart artists. 

  • Redstart Arts Discovery Box, Kimberly is making objects inspired by shells that create incredible and varied protective environments for sea creatures. Kimberly is using model magic and milliput.
    Kimberly is making objects inspired by shells that create incredible and varied protective environments for sea creatures. Kimberly is using model magic and milliput.

  • Redstart Arts Discovery Box, Byron is making his own protective mask and talisman pendants working alongside Hannah who is using plaster and modeling materials.
    Byron is making his own protective mask and talisman pendants working alongside Hannah who is using plaster and modeling materials.

  • Redstart Arts Discovery Box, Uduehi enjoys drawing and is particularly interested in how animals protect their families.
    Uduehi enjoys drawing and is particularly interested in how animals protect their families.

  • Redstart Arts Discovery Box, David is embroidering images from the Natural History Gallery onto blue satin discs. This will become a protective cloak to be worn. Each disc has a drawing by all the Redstarts.
    David is embroidering images from the Natural History Gallery onto blue satin discs. This will become a protective cloak to be worn. Each disc has a drawing by all the Redstarts.

  • Redstart Arts Discovery Box, David is embroidering images from the Natural History Gallery onto blue satin discs. This will become a protective cloak to be worn. Each disc has a drawing by all the Redstarts.
    David is embroidering images from the Natural History Gallery onto blue satin discs. This will become a protective cloak to be worn. Each disc has a drawing by all the Redstarts.

  • Redstart Arts Discovery Box, Colleen is designing fabric inspired by African figures. The fabric will be used to protect the Akuaba doll. This doll was given to women to look after as if it were a baby in order to aid their fertility and allow them to be ready for motherhood.
    Colleen is designing fabric inspired by African figures. The fabric will be used to protect the Akuaba doll. This doll was given to women to look after as if it were a baby in order to aid their fertility and allow them to be ready for motherhood.

International Women's Day 2017

Today, 8 March, is International Women's Day, where we celebrate the social, economic, cultural and political achievement of women around the world. 

This year's International Women's Day theme is Be Bold For Change

Here at the Horniman, we have a whole host of amazing women working and volunteering in our Museum and Gardens. We invited some of them to share how they are going to be bold this year. 

The responses were great. Some were personal challenges for the year ahead, some were calls to action and all of them were personal and empowering. 

Here are some of the ways the women of the Horniman are going to be bold. 

  • International Women's Day 2017, Volunteering again with Cultural Heritage without Borders in a new city in Kosovo
    Volunteering again with Cultural Heritage without Borders in a new city in Kosovo

  • International Women's Day 2017, Turn my words into actions
    Turn my words into actions

  • International Women's Day 2017, Do more for my kids in Zimbabwe - www.themichaelproject.org
    Do more for my kids in Zimbabwe - www.themichaelproject.org

  • International Women's Day 2017, Release more creativity
    Release more creativity

  • International Women's Day 2017, A mum returning to the workplace after a decade at home!
    A mum returning to the workplace after a decade at home!

  • International Women's Day 2017, Trek Machu Picchu (must go to gym first!)
    Trek Machu Picchu (must go to gym first!)

  • International Women's Day 2017, Support art made by women
    Support art made by women

How are you going to be #BeBoldForChange this year?

Share your answers with us using #horniman

National Museums and Wellbeing Week

Our Community Engagement Coordinator Jess Croll-Knight talks about wellness and the role that museums play in their local community.

This week we are celebrating the second National Museums and Wellbeing Week from 6 – 12 March 2017, coordinated by the National Alliance for Museums, Health & Wellbeing.

The Community Engagement team are proud to work with a range of local organisations and services that provide mental health and wellbeing support for people. These partnerships really help us understand how the Collections and Gardens can help enrich and support positive wellbeing for people who visit the Horniman. This might include opportunities to be active and social, to try or learn something new, use objects in multi-sensory and creative ways, or just relax and have fun in a different environment. 

All sorts of activities happen at the Horniman that support positive wellbeing. Here is a snapshot of what is happening this week.

We are running projects with a range of partners, including the Greenwich and Lewisham Young People’s Theatre ‘Whatever’ Project, Redstart Arts and Three C’s, to create new discovery boxes. The boxes contain a selection of objects from our Handling Collection, based around a theme that is relevant to them. They are aimed at families and groups who are exploring the Hands on Base. To create the boxes, group members take the lead in choosing a theme and decide which objects go in their box. This helps develop skills working with Museum objects, sharing interests and experiences with each other, taking part in creative activities, and ultimately creating a resource that will be used by visitors to the Horniman for years to come. The Horniman are welcoming

This week we are also welcoming Pan Intercultural Arts to the Horniman, who work supporting self-expression and empowerment with a young refugee arts group.

Elliot Bank School’s Museum Club will be back again this week learning about the Museum's collections and Gardens through art and crafts. And the Horniman Youth Panel, who also meet each week, play an important role in decision-making and getting young people’s voices heard at the Horniman. 

We are really excited to have started a project with local families learning English as another language with ESOL (English for Speakers of Other Languages). They are helping to create interpretation panels (the labels you read in galleries) for the new World Gallery and Studio. The sessions are a chance for people to be sociable and practice language skills in a different environment, but also to play an active and critical role in making the Horniman a welcoming place for all families in the local community.

Crossing Borders also takes place this week. We are asking people to join us in celebrating the diversity of our Forest Hill neighbourhood and the people that live here, through storytelling, art and craft activities and immersive theatre performances. This annual event is a collaboration between organisations and individuals who work with local refugees and asylum seekers. Everyone is welcome so come along on Saturday 11 March.

Finally, we welcome the Raise the Roof Community Choir which provides an uplifting opportunity for people to explore music together.

Museums and gardens are an amazing resource for feeling well and happy, being active and taking part in activities. We hope the Horniman can continue building on all of this work and help promote the wellbeing of our community and all our visitors.

Have a look at the Wheel of Wellbeing for more inspiration! 

The women and children of Barry House

As part of our annual Crossing Borders event, we spoke to Anne-Catherine Le Deunff, who is an Art Therapist working at Southwark Day Centre for Asylum Seekers, a centre for vulnerable refugees, migrants and asylum seekers. She tells us about what life is like running the art therapy sessions with the women and children at Barry House, a hostel for asylum seekers run by the Home Office.

Every Wednesday evening is different in Barry House.

Women and children join our group, settle for a while in the temporary accommodation (a few days, a week, a month) and then they go.

We get to know each other, we become friends or we simply learn how to pronounce each other’s name and then, one day, the woman or the child is gone to Leeds, Liverpool, Birmingham or Cardiff and you might not see each other again.

Once in a while, you are lucky enough to say, “Goodbye, good luck, take care of yourself…”

Every day we are assailed by images in the media showing the desperate movement of migrants arriving in Europe. These are people fleeing war, persecution or poverty. Leaving their country without hope of returning in the near future, they are separated from their homes, their relatives, their friends. They are in constant fear of losing their loved ones back home. Along the way, they have suffered abuse from people smugglers, they have got used to being rejected and mistreated and they are likely to have been confronted with death. Some images might stay in their mind and they might have troubles sleeping because of them.

After these traumatic events they are in need of interventions to support them on a psychological level, as well as to help them get by in their new lives. Creative therapy provides some release or structure within which their experiences can be expressed.

At our arrival in Barry House, the children run towards us - excited, curious. They help us set up the Art Therapy Room. The mums might arrive later. They come on their own or with a friend or two, to share their stories with the group. Soon, everyone starts painting or drawing, immersed in their imaginary world. We never stop giving sheets of paper on which they express themselves and communicate. They do not need to speak the same language; their images talk for them.

These regular sessions provide a measure of release and give some structure to the women and children’s lives. It enables them to give some meaning to their experience.

We often observe one or two sad children gazing at us in silence. You can guess that they are affected by their parents’ anxiety and depression. They might even have to become their mother and father’s carer as they learn English quickly.  In our group, we try to offer them a space to play, showing these children a way to enter a world where they are in control. We are struck by their need to be treated as individuals after their experiences finding their way to our country.

Art demands active participation therefore it helps with combatting apathy. It enhances wellbeing and offers the migrants some time to stop worrying. It might help contain and calm a distressed adult, a restless child.

Many women might have never been given the opportunity to create. They might never have used paints before and might be reluctant to start. When they feel trusting enough of the environment, and of us, only then can they allow their emotions to express themselves. They can also use this time to dream and explore in a secure and safe space.

Children who may be seen to have lost their childhoods are provided a positive and creative experience. They are able to share stories and situations from their past, using the artistic medium in whichever way they wish, in a safe and nurturing environment. They will be listened to and the therapist will validate their experiences, enabling them to move forward, to start to heal. Later on, those children who have been helped to survive and cope will integrate in our schools and often thrive.

In Barry House, it is not possible to start proper therapy as there is not enough time to go in depth and talk about the women’s inner lives - the confusion and despair that we see in their eyes. We offer mothers this space and time to breathe, bond with their children and be a mum like any other mum. We would like to think that we provide some opportunity for creative growth.

One woman from Yemen invited us to her bedroom where her new born baby boy was being blessed. She had been attending our group regularly, all through her pregnancy.  We were pleased to see that she decorated her room with her refined and colourful artwork.

For me, she was not a victim anymore but a real artist, proud of her work.

You can take part in a drawing workshop with Southwark Day Centre for Asylum Seekers as part of Crossing Borders on 11 March, based on the drawings made by women and children during art therapy at the Centre or Barry House.

Join The Studio Collective

We are looking for people to help us create amazing things in one of our new spaces planned for 2018: The Studio.

The 10 people chosen will become part of our Studio Collective and help us create exhibitions and events alongside an artist and Horniman staff.

What is The Studio?

The Studio is a new space which will be opening at the Horniman in 2018. This new space has given us an opportunity to run an exciting engagement project where the Horniman will work in collaboration with artists, partners and the local community.

What are the criteria?

You need to be over 18 years old, involved in a community organisation and be based in south London to take part. You would need to be available once or twice a month for a period of four months, for a minimum of two hours per session.

What are the benefits?

Successful applicants will receive a partnership allowance equivalent to £12.50 per hour to attend meetings, and expenses to attend meetings will be covered. You will also receive training and support along the way, as well as a unique insight into the Horniman.

Why are we doing this?

The Horniman has an excellent track record in building community partnerships, as well as expertise in creating well-regarded exhibitions and public programmes.

We want to take this a step forward to create challenging and thought-provoking exhibitions and event programmes with artists and our communities.

Learn more about The Studio and The Collective:

How do I apply?

Download and complete the application form below and return this to communitylearning@horniman.ac.uk or give us a call on 020 8291 8690.

Places will be awarded based on the answers you give in the application form.

Deadline for applications is 9am Monday 27 February 2017. 

The Badger at Burgh House

Hello, I’m Becky Lodge the Curator at Burgh House, an historic house with a local history museum, based in Hampstead.

We borrowed the Object in Focus taxidermy badger from the Horniman last year and the staff all became very fond of her. We have no natural history specimens in our own collection, and the badger is super cute.

The badger featured in an exhibition of picture postcards of Hampstead called 'Hello from Hampstead! Discovering a History through Postcards'.

Hampstead is a suburb of London that has been a popular visitor destination for centuries, especially for its vast and famous Heath. Not only is the Heath an incredible place to explore, it is host to a wonderful variety of plants and animals.

The badger helped us to show this, complementing our postcards beautifully.

Working with Sarah and the conservators from the Horniman on the loan was a really enjoyable experience. The whole process was so well managed, it was a delight for our small team. Thanks, Horniman Museum and Gardens!

Find out more about our Object in Focus loans project. 

Discover more from Burgh House on their website or connect with them on Facebook and Twitter

Nares Hornimani

Artist in residence Joshua Sofaer describes some of the work he has been doing at the Horniman.

‘For the last quarter of 2016, I have been lucky enough to be artist in residence at the Horniman Museum and Gardens.

I have been exploring the Horniman collections as inspiration to create a series of false noses. There are many places to look.

The most obvious is perhaps the Anthropology collection: dance, devil, carnival, and ‘ugly’ masks. Equally, I could turn to the Natural History collection: the spoonbill’s beak, the paleomastodon’s nascent trunk, the nine-banded armadillo’s curled protective shell. Less obvious, but no less inspirational, is the collection of instruments: an orchestral horn false nose, a concertina false nose, of course the nose flute already exists.

I collect false noses. I have hundreds of them. Most are human noses, but I also have witches noses, clown noses, animal noses, and other oddities. I even have a plug nose and a socket nose.

In 2013, I showed a series of 452 self-portraits wearing my false noses at the Wellcome Collection in London.

The thing about this collection is that there is a rapidly decreasing pool of noses to collect. As cosplay becomes more popular and affordable, people are dressing-up more ‘authentically’. The false nose, alas, has probably seen its day.

In an effort to try and add to my own collection, I have started making false noses myself. I have made painted noses, papier maché noses, brass noses, clay noses, cardboard noses, crochet noses, and gold noses. I have recently started a digital Nose Museum on Instagram.

Bang slap in the middle of our faces, the nose is often overlooked. There are odes to beautiful eyes, sonnets on the perfect shape of lips, hair practically has a strand of literature to itself. The nose, however, is often cut off. The nose has a rich narrative potential for the absurd, the comic, the mysterious and at the same time, the entirely knowable. We all have a nose after all. As Dr Seuss reminds us, ‘They grow on every kind of head’.

My personal opinion is that all people can be divided into two categories, those who collect, and those who do not. As a collector myself I am interested in people who collect. Frederick John Horniman (1835-1906) was a collector in the Victorian tradition and on an epic scale. It is, of course, his collection that forms the bedrock of the Horniman collection.

In what used to be the main reception of the Museum, but is now the staff and goods entrance, perched on a pedestal, is a bronze bust of Horniman.

  • Nares Hornimani, The bust of Frederick Horniman, Joshua Sofaer
    The bust of Frederick Horniman, Joshua Sofaer

Nobody seems to know much about it. My hunch is that it was created at the same time as the building, which opened to the public in 1901. It fits too perfectly into its nook to be a later addition. One option is that it is the work of sculptor Frederick William Pomeroy (1856-1924). Pomeroy made a bronze bust of Horniman’s daughter-in-law in 1898, and also a memorial tablet for the Museum. I’m still in pursuit of some solid evidence that confirms or contradicts this theory. (If you know something, get in touch!)

  • Nares Hornimani, A close up of Horniman's nose, Joshua Sofaer
    A close up of Horniman's nose, Joshua Sofaer

In tribute to the man that endowed this fantastic Museum, I want to create a Horniman false nose. And what could be a more fitting material for a tribute, than gold?

After discussing my plans with the conservation team, writing method statements, and making patch tests, I was given the go ahead to make a cast of the nose and moustache area of the bronze bust.

  • Nares Hornimani, Ready for your trim sir?, Joshua Sofaer
    Ready for your trim sir?, Joshua Sofaer

Despite having used the alginate and plaster bandage technique literally hundreds of times to successfully cast faces (most recently on the life mask of another Victorian and Edwardian collector, Henry Wellcome) the process failed. Perhaps I had been over cautious about what materials to use, not wanting to affect the patina of the bronze, but still, I thought it would work. The alginate can sometimes ‘go off’ but the batch seemed fine to me. Anyway, for whatever reason, possibly the cold temperature of the bronze, it wouldn’t release without tearing.

  • Nares Hornimani, A first attempt, Joshua Sofaer
    A first attempt, Joshua Sofaer

I don’t mind admitting that I was pretty embarrassed. After all the efforts to secure the permission and cordon off the area, I felt a bit incompetent. Luckily for me Lindsey Bruce, Exhibitions Officer, and my main point of contact at the Museum, was unperturbed. “We will make it happen,” was her refrain.

It was back to the 4D model shop in Whitechapel to see what other casting agents I could safely use. Armed with a pack of Gedeo Siligum, a silicone based moulding paste, I returned to the Museum to run a test on a bronze scrap. It seemed fine, and Julia Gresson from the conservation team, gave me the go ahead for a second attempt.

Poor Frederick looks a bit miserable having his nose cast.

  • Nares Hornimani, Horniman having his nose cast, Joshua Sofaer
    Horniman having his nose cast, Joshua Sofaer

This time, success! A very good cast that also picked up some dirt, which must have gathered up his nose over the years. Once the cast was off, Julia gave him a good clean.

  • Nares Hornimani, A good cast, Joshua Sofaer
    A good cast, Joshua Sofaer

Taking the mould back to my studio, the next step is to make a wax template. Yes, I know this looks like a school project gone wrong, and yes, that yellow stuff really is Play-Doh. Play-Doh is a great way to build up the sides of a wax mould. It’s cheap, washes off easily, and can form a tight seal.

  • Nares Hornimani, Play-Doh, Joshua Sofaer
    Play-Doh, Joshua Sofaer

After a couple of hours leaving the wax to cool and harden, I stripped back the Play-Doh, and removed the mould. The Horniman nose and moustache wax template stands proudly before me.

  • Nares Hornimani, Horniman's nose template, Joshua Sofaer
    Horniman's nose template, Joshua Sofaer

Now that I had at least one good wax copy, I made a plastic polymer version from the same mould as an insurance.

  • Nares Hornimani, Plastic polymer versions of the nose, Joshua Sofaer
    Plastic polymer versions of the nose, Joshua Sofaer

The next step was to take the template to a metal workshop to have it copper electroformed. Electroforming is a process that builds up a metal surface through electrodeposition. Because wax is not conductive, the area to be electroformed has to be treated chemically with a conductive layer, something like a metal paint. The technical term for the template is ‘mandrel’. The mandrel is then put into an electrolytic bath with a copper solution in it and the copper crystals slowly form around the conductive pattern.

  • Nares Hornimani, The electrolytic bath, Joshua Sofaer
    The electrolytic bath, Joshua Sofaer

A couple of days later I returned to the metal workshop to collect the mandrel. The wax is now covered with a beautiful layer of copper.

  • Nares Hornimani, The copper nose, Joshua Sofaer
    The copper nose, Joshua Sofaer

To get rid of the wax, I simply popped the thing into the oven (130 degrees Celsius for 40 minutes) and let the wax melt out through a wire grid into an aluminium take-away carton.

  • Nares Hornimani, Melting the wax, Joshua Sofaer
    Melting the wax, Joshua Sofaer

Back in the studio, I cut out the shape I wanted, following the natural line of the moustache, punched out the nostrils, and drilled some holes for the thread ties.

  • Nares Hornimani, Cutting out the final shape, Joshua Sofaer
    Cutting out the final shape, Joshua Sofaer

This is the final shape.

  • Nares Hornimani, The final copper nose, Joshua Sofaer
    The final copper nose, Joshua Sofaer

Then it’s back to the metal workshop for the golden jacket. The copper nose-moustache-combo has to be polished and thoroughly cleaned. The first bath is just washing-up liquid and water; the second running water; the third acid, in which you can see the dirt fizz away!

  • Nares Hornimani, The washing-up liquid and water bath, Joshua Sofaer
    The washing-up liquid and water bath, Joshua Sofaer

  • Nares Hornimani, The acid bath, Joshua Sofaer
    The acid bath, Joshua Sofaer

Then Mr Horniman’s nose is plunged into a bath of gold. In fact, it is just gold dust in a solution, and the process of gold plating is similar to that of electroforming, only much quicker. I tried to distract the technician, asking questions for as long as possible, so that an extra thick layer of gold would make its way onto the surface (only joking). In reality, it’s only a few microns deep. If you rough handle gold plate, you will see what’s underneath.

  • Nares Hornimani, Coating the nose, Joshua Sofaer
    Coating the nose, Joshua Sofaer

And there we have it. One gold Horniman nose and moustache.

  • Nares Hornimani, Gold Horniman nose, Joshua Sofaer
    Gold Horniman nose, Joshua Sofaer

However, I’m not sure it’s quite finished yet. I want to give this nose some kind of totem. One that makes it an object worthy of the taxonomic principles that form Horniman’s collection and which that collection helped to create.

There are several species to which Horniman lent his name. This happened when entomologists were invited to survey Horniman’s collections. Although Horniman did go on big world travels later in his life and brought crate loads of stuff back to the UK, most of his early collections were purchased through intermediaries. Someone goes off to Africa and collects a bunch of specimens, brings them back to London, and Horniman buys them at auction, for example. He would then welcome experts to look at what he had amassed. Specimens include a moth, Eusemia hornimani, (now Heraclia hornimani), a true bug, Tesserotoma hornimani, and the ‘Horniman beetle’, Ceratorhina hornimani (now Cyprolais hornimani), from Cameroon, described by naturalist and explorer Henry Walter Bates in 1877.

  • Nares Hornimani, Species to which Horniman gave his name, Joshua Sofaer
    Species to which Horniman gave his name, Joshua Sofaer

Perhaps the most beautiful species named after Horniman is the ‘Horniman Swallowtail’, Papilio hornimani, known only from the northern forests of Tanzania and the southern hills of Kenya. As Jo Hatton, Keeper of Natural explained to me, it was identified by Victorian entomologist W L Distant in 1879, when he was looking through Horniman’s vast collection of butterflies.

  • Nares Hornimani, This is the original specimen that Distant 'discovered', Joshua Sofaer
    This is the original specimen that Distant 'discovered', Joshua Sofaer

As an aside, if you’ve ever wondered how all those Victorian insects were pinned at just the right height, Jo showed me the entomologist’s ‘Pinning Stage’, a metal block that is used to set the specimens and their labels at a consistent height on the mounting pin. You pin the specimen, pick which height you want, and push the pin into the stage. By using the same hole each time, the specimens will always be at the same height.

  • Nares Hornimani, Pinning stage, Joshua Sofaer
    Pinning stage, Joshua Sofaer

Here is the defining Papilio hornimani on its original pin, with two labels beneath the butterfly.

  • Nares Hornimani, Papilio hornimani, Joshua Sofaer
    Papilio hornimani, Joshua Sofaer

It is almost always the open wings of the butterfly that we see pinned up, because they are traditionally seen as the most pretty, the reverse side, which is, I suppose, more commonly seen in nature as the butterfly sits on vegetation, have their own muted beauty. The Papilio hornimani is made up of soft dusty browns, greys and creams.

  • Nares Hornimani, Papilio hornimani, Joshua Sofaer
    Papilio hornimani, Joshua Sofaer

As you might expect, over the years, the Horniman Museum has acquired many examples of its lepidopterous namesake.

  • Nares Hornimani, Papilio hornimani, Joshua Sofaer
    Papilio hornimani, Joshua Sofaer

Where does all this fit into Horniman’s gold nose? Well, I’m thinking of giving him a Swallowtail nose ring, in the spirit of anthropology. I have drawn out the shape and will soon laser cut a piece of 0.5mm steel, which I will then have plated in gold, to match the nose.

  • Nares Hornimani, Drawing of a Swallowtail, Joshua Sofaer
    Drawing of a Swallowtail, Joshua Sofaer

Horniman fell in love with Japan (as in fact, have I) and so I have ordered a length of ‘kiki himo’ (literally 'gathered threads'), 100% silk braid made by craftsmen in Uji, Kyoto, which is being sent over from Japan, as the string to tie on the nose.

Soon I will be able to reveal Nares hornimani. Watch this space.’

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