Megan Dowsett is a freelance creative consultant working with museums and galleries.

Through the name Norris and the Flamingo, she shares the sense of adventure that runs through all of life, wherever we are on our journey. A sense of imagination, of possibility and discovery, for children and adults alike.

Her core values come down to two simple things:

People: At the heart of everything she does, people are there – be it audiences of any age or background, volunteers, staff or freelancers and apprentices. She believes that the best projects take everybody with them on a learning journey.

Creativity: In every role she’s taken, creativity has played a key priority. Working in Museums and Galleries, creativity brings a valuable opportunity to think about the same things in a different way.

Museums and galleries are the perfect place to bring the joy of discovery and magic of adventure to everyone who passes through the doors - and to invite those who haven't yet braved these sometimes intimidating buildings, to do so in a dynamic and inviting way.

Over twelve years working in these exciting settings, Megan has developed extensive experience in both managing and delivering creative projects that engage with a wide variety of audiences.

24 July 2017

Anime Architecture: Backgrounds of Japan

I popped into the House of Illustration after a glorious hour introducing Bean to the fountains in Granary Square.  To be honest, I'd been most appealed by the Jacqueline Ayer exhibition (pretty predictable of me, I know), which turned out to be closed.  So I explored Quentin Blake's Life of Birds (lovely - what is it about birds, of all things?  He tries to answer this, but he's not the only illustrator to love birds - perhaps I'll come back to this in a future blog), and then an exhibition of backdrops from Japanese Anime films.  Not my bag at all, usually, so very good for me to see something different!
It took a while to get into - I'm not traditionally a fan of the cool, clinical lines of futuristic cities (above - by Hiromasa Ogura for Ghost in the Shell) BUT ... I couldn't help but be mesmerised by the sheer talent of the artists and utterly intrigued by the complexity of developing an animated film like this.  To be honest it clicked into place for me at the end of the exhibit when I saw some cuts from the actual films - THEN I found myself fascinated and absorbed by how they manage to put such things together.
Along the way, I was chiefly drawn in by the gorgeous, obsessive complexity of Takashi Wasabe's layout drawings for Ghost in the Shell 2: Innocence, a world (on a boat, I think) of tubes and pipes ...