JAMES JOHNSON-PERKINS
RESIDENCIES AND WORKshops
ARCHIVE
RESIDENCIES & WORKSHOPS
PUBLIC ART
RESEARCH
MEDIA ARCHIVE
ARTWORK
RESIDENCIES
James Johnson-Perkins has extensive experience through international artist residencies.
These Include: British School at Rome, Emily Harvey Foundation, Chinese European Arts Centre, The Bridge Guard, Kathmandu Contemporary Art Centre, Belgrade Arts Studio, Correlation Contemporary and the Art Students League of New York. He was also recently artist in residence at MERZ and Le Maison De Barbara.
The artist is particularly interested in summer and short-term residencies or institutional exchanges that provide opportunities to engage with culturally significant locations that complement his immersive, site-responsive practice. These experiences inform the development of new ultra-high-resolution Gigapan panoramic images in diverse locations, forming the foundation of his ongoing GIGATAGE works.
His approach combines image-making with research into local history and cultural traditions, ensuring each project is grounded in its specific context. Alongside visual production, he often maintains a reflexive practice, documenting residencies through writing and film-making that combine process, observation, and critical introspection, continuing a methodology developed through previous international residencies.
WORKSHOPS
WORKSHOPS
Twenty Five Years of Teaching, Learning, and Workshop Practice James Johnson-Perkins is an artist, educator, and workshop facilitator with more than two decades of experience delivering creative learning across galleries, universities, schools, and international art institutions. His workshops combine experimental making, play, collaboration, and critical thinking, encouraging participants of all ages to engage with contemporary art through hands-on activity and imaginative processes.
Johnson-Perkins has delivered workshops throughout the UK and internationally, including projects at the BALTIC Centre for Contemporary Art, King’s Lynn Arts Centre, English Folk Dance and Song Society, Kube Gallery, and The International School of Venice. These have included large-scale collaborative building projects, robot-building workshops, den-making activities, puzzle, mask-making and hula-hoop structure sessions. His educational approach has consistently been praised for its creativity, accessibility, and ability to break down barriers to contemporary art participation. During his five years working with the learning and engagement team at BALTIC Centre for Contemporary Art, he worked with families, schools, university groups, teachers, and community participants, developing a reputation for imaginative and inclusive practice.
Alongside workshop delivery, Johnson-Perkins has extensive higher education teaching experience. He currently teaches on Art and Design courses at Winchester School of Art and is also a visiting tutor at Arts University Bournemouth. Internationally, he worked from 2014–2022 at the University of Nottingham Ningbo China, and has also lectured at Xiamen University. Previous academic roles include Course Director of BA Fine Art in Oman and Fine Art Lecturer in Moscow. Most recently, in May 2026, he delivered workshops at King Edward VI School, continuing his commitment to creative education across diverse contexts.
Robots Workshops, Kube Gallery, Poole, UK
Tangram Floor Puzzle Workshop, Liangzhu Culture Centre, Hangzhou, China
Hula Workshop, Nottingham University, Ningbo, China
ART RESIDENCIES REFLECTIONS
Art Residency/Reflections
La Maison De Barbara Residency, Ayvalik, Turkey
During my residency at Maison De Barbara in 2024, I developed the initial photographic material for ISTANBUL/ZEID: Maps, Signs and Symbols, After Princess Fahrelnissa Zeid. Working within the layered historical landscape of Sultanahmet Square, I documented architectural details, tourist imagery, street signage, digital advertisements, flags, symbols, and fragments of urban movement that later became embedded within the panoramic digital montage. The residency provided a vital space for reflection and experimentation, allowing me to explore the collision of abstraction, cultural identity, global communication, and post-digital image making. Surrounded by the visual and historical density of Istanbul, the work emerged as a response to the city’s unique position between continents, histories, and belief systems. During my residency at Kathmandu Contemporary Arts Centre, based within the gardens of the Patan Museum, I developed the initial Gigapan material for Assembly of the Gods, After Raphael. Immersed in the sacred architecture and dense visual culture of Kathmandu’s Patan Durbar Square, I documented temples, shrines, devotional objects, pilgrims, and fragments of everyday spiritual life that later became part of the monumental digital montage. The residency provided a rare environment for reflection and experimentation, allowing me to explore the collision of mythology, religion, history, and post-digital image making within one of the world’s most spiritually charged urban landscapes. During my six-month residency in Štúrovo, Slovakia, I developed The Štúrovo Super Hero Society, a project exploring ideas of cultural identity, collective memory, childhood nostalgia, and social role-play within the border region connecting Slovakia and Hungary. Responding to the symbolic history of the Mária Valéria Bridge, a structure repeatedly destroyed and rebuilt throughout the twentieth century, I created a fictional group of amateur Eastern European freedom fighters whose “superhero” personas reflected hybrid Slovak and Hungarian cultural influences. Working with local volunteers, I produced a short film staged across prominent locations in Štúrovo and Esztergom, alongside vinyl drawings and handmade masks. The residency allowed me to engage directly with the social and historical fabric of the town while developing collaborative, site-responsive work informed by ideas of connection, resilience, and shared identity. During my residency at the Art Students League of New York, I developed the initial Gigapan material for Times Square Nude, After Bosch. Immersed in the overwhelming spectacle of Times Square, I documented flashing advertisements, crowds, performers, tourists, surveillance screens, and fragments of urban excess that later became embedded within the panoramic digital montage. The residency provided an intense environment for experimentation and observation, allowing me to explore the collision of consumerism, spectacle, celebrity culture, and post-digital image making. Drawing upon the grotesque visual language of Bosch, the work emerged from the sensory overload and psychological theatre of contemporary New York.
The Chinese European Arts Centre, Xiamen, China
The Kathmadu Contemporary Art Centre at the Patan Museum, Kathmandu, Nepal
Bridge Guard, Sturovo, Slovakia
Art Students League, New York, USA
In addition, I produced a site specific Hula Hoop installation "Back to the future" accompanied by retro computer generated soundscapes and a pixelated moving image work referencing Modernist and Constructivist painting traditions.
