Inspiration for your human rights artworks from Ellie Barrett

Inspiration from artist Ellie Barrett, for our global competition that platforms youth voice on human rights - The World I Want To Live In: Human Rights Education - Learning through Creating. Remember to enter by the 1st June.

Imagine a ‘sculpture’. What comes into your mind? The first thing you might think of is a huge marble figure, or solid bronze shape, or a tall form of welded metal.


For a long time, ‘sculpture’ has been something that is ‘done to’ us, rather than ‘with’ and ‘for’ us. When it appears in front of us – in the gallery, in the street – it’s monumental, towering and immovable. It’s made of materials using processes and equipment that most of us have no familiarity with and no way of accessing. Whether it’s a marble figure on horseback or a polished steel cube, ‘sculpture’ often feels like something we can’t participate in and have no cultural ownership of.


In the last 100 years, some artists have pushed against this traditional idea of what ‘sculpture’ can be and started to experiment with other materials: stuff they found in the street like old car tyres and scrap metal; stuff they found in their houses like cardboard, string and fabric; and stuff they found that connected to other processes outside of art like concrete, animal fur, fat and plants.


This shift in sculpture is important when we think about learning, empowerment and human rights. It can be easy to think about these concepts as invisible things that we can’t hold in our hands. Whilst this is partly true, it’s also the case that learning and empowerment can be influenced by things we can grasp - objects, materials or even other bodies we encounter in our daily lives. These things have a profound effect on the way we absorb, process and share information, and therefore how we view ourselves, one another and the world we live in together.


Sculpture is the perfect place for thinking about material interaction and discovering more about ourselves. Getting our hands dirty making things is a way of taking up space, gaining confidence and sharing our stories. These activities are deeply connected with learning, identity and empowerment. A key element of ensuring that sculpture is an accessible activity that all sorts of people can engage in is making sure that the materials we use are familiar and accessible to as many people as possible. Once we expand the materials we use to make sculpture, we also expand the things that sculpture can do for us.



Case Study


One of my recent projects demonstrates how salt dough (how to make it) can be a useful tool to promote accessible learning and collaborative empowerment. Personal Histories was a socially engaged sculpture project supported by the National Festival of Making, based in Blackburn UK. This project enabled me to think about accessibility, production and participation as a means of creating spaces for shared learning.


How to make salt dough


For the first phase, I researched sculpture plinths in towns across Lancashire notably in Preston, Lancaster and Blackburn. These were made from marble or stone, and most of them supported statues of powerful men. In my studio, I recreated them using only salt dough. Replicating solid, powerful structures in an everyday material is a way of removing their authority.


In the second phase, I invited people who live in Lancashire to make their own sculptures that would go on top of the plinths. I ran a series of online workshops using Zoom where we experimented with making salt dough sculpture. Material played such an important role again: these workshops were during lockdown, so we were restricted to what we could find in our homes. Salt and flour were ideal.


It was important to me that these workshops weren’t formal technical methods based, but encouraged everyone to experiment and share their discoveries. This format is called a “makerspace” and promotes non-hierarchical mutual learning from everyone in the room. I learnt a lot of new tips and tricks from the people who came to these workshops.


Afterwards, all of the participants had time to make a new sculpture using the ways of working we’d learnt from the workshops. I asked people to make something which represented their experience of the “everyday”. It was important to me that we were sharing something about ourselves using a material we have in our homes. When the sculptures were brought together, it was a way of being with each other to share our experiences, even though we weren’t able to do this in person.


The project encouraged people to think about sculpture as an accessible activity we can all use to raise our confidence levels, share our stories and learn more about each other. The completed sculptures were displayed on top of the plinths I’d made in Blackburn Bus Station in May and June, 2021.



Find out more about Ellie Barrett here: elliebarrett.com


Click here and enter by the 1st June.




Ellie Barrett • April 25, 2022
By Hedi Argent April 29, 2026
The aim of Holocaust education should never be to introduce young people to the details of the horrors of the Holocaust, but to help them to understand how it could happen: what led up to it, and to recognise how conspiracy theories, fake news and disinformation lead to prejudice. And how prejudice leads to racism – and when racism is allowed to flourish, then there is no limit to what can happen. I give talks mainly to students in Year 6 who are in the last class of primary school. They are good listeners and generally uninhibited about interacting and asking searching questions. Some talks inevitably have to be on Zoom because of unmanageable distances, but there is an advantage because several schools can participate and I have spoken to as many as 500 children in one session. With a bit of technical luck, I can see them and they can see me as well as PowerPoint illustrations. I talk about my own experiences as a child and how my cousin and I became the targets of racism and learned how antisemitism, surely the oldest form of racism, felt as well as what it meant. Our stories had very different outcomes: I was lucky and survived. I came to England with my parents. We discuss what refugees may bring with them and what and who they must leave behind and how that may feel. I encourage them to listen to others’ stories and to tell their own – we all have stories to tell and they help us to welcome strangers, not to fear them. My cousin was not lucky. He was one of six million who were not lucky. The children and I explore together what 6,000,000 means. We stand and I tell them that the late Chief Rabbi of the UK, Lord Jonathan Sachs, once worked out that if we stood for just one minute to commemorate each of the 6,000,000 we would be standing in this place for 11 years and 4 months. We talk about who can do such things? and I stress that there are no bad people but only people who do bad things. I give examples of kindness: a child who played with me when the other children and teachers in my school shunned me and called me names, a man in the Nazi party, who knew and saved my father when he was arrested, and a doctor who took me to hospital, where Jews were not allowed, when I nearly lost a finger. Eli Wiesel, an author, who witnessed the worst terrors of the Holocaust as a child in the camps, once said that when we tell our stories, we share the responsibility of being a witness and when enough of us become witnesses we may never let it happen again. BY HEDI ARGENT Hedi and her parents came to England as refugees from Austria in 1939. Hedi spent most of her working life in Social Work specialising in the adoption of older children and children with disabilities. She has written and edited more than twenty books on the subject and is still working and speaking in schools about the Holocaust and what it means to be a refugee. Hedi has recently written her own story and has donated the royalties from her book sales to the Foundation. She is also an ambassador for the Foundation.
By Joenty Ngoma April 27, 2026
What does it mean to be a boy in today’s world? Is it to be watched, managed, expected to fail before you even begin, or is it to be shaped, trusted, and taught how to carry dignity without dropping it? That question followed me off the bus at the Dignity Defenders camp. The air was thick with uncertainty. Boys from different schools stood in long, uneven lines, gripping oversized bags under a sun that felt far too awake for how unsure we all were. One by one, police officers searched through our belongings at the gate. No introductions. No explanations. Just hands in bags, eyes scanning for what might go wrong. The message landed quietly but firmly: we were not trusted. At first, it stung. I looked around at the boys beside me, some nervous, some joking too loudly, some silent, and none of them looked like criminals or threats. They looked like boys carrying more than just clothes: expectations, pressure, unfinished childhoods. And yet, here we were, treated as potential problems before we were given the chance to be people. Still, honesty matters. An all-boys camp does sound like something that could collapse into chaos if left unchecked. In a world already strained by conflict and unrest, caution becomes a reflex. That gate, uncomfortable as it was, became the first lesson: when society loses trust, control rushes in to fill the gap. What followed, however, was not control, it was education in its most human form. We were separated from friends, gently but deliberately, nudged into unfamiliar conversations. We slept in shared dormitories; bunk beds stacked like unspoken agreements to coexist. Slowly, the tension softened. The space began to feel less like a holding area and more like a classroom without walls. One speaker, calm and sharply articulate, spoke about substance abuse. When he revealed that he was a former drug addict, the room shifted; not because of shock, but because of contrast. He did not look broken. He looked rebuilt. His story dismantled the idea that one mistake writes an entire future. It reminded us that education is not about erasing the past but understanding it well enough to move forward. Later, a boy raised his hand and admitted he used substances to cope with stress at home. There was a brief, fragile silence. Then someone asked, "Why?". That single question cracked something open. Suddenly, drugs were no longer the headline; pressure, pain, and survival were. Education, in that moment, did not judge. It listened. We learned how to defend dignity, physically, legally, and emotionally. We learned what to do when it is threatened, how to protect ourselves and others, and how to act instead of freeze. These were not academic lessons. They were tools for a world that does not always play fair. Near the end of the camp, chess appeared, almost casually, disguised as a fun competition. What began as a game slowly unfolded into a lesson. We were encouraged to play, to compete, to enjoy it, but also to think. Each move demanded patience. Every decision carried a consequence that could not be taken back. It was no longer just about winning, but about understanding that rushing the present often sabotages the future. When the competition ended, the strongest players were rewarded with mini chessboards. Receiving my first chessboard felt symbolic, a small object carrying a quiet reminder that life, like chess, rewards those who think beyond their next move. By the end of the camp, something had shifted. My idea of masculinity no longer revolved around strength or silence, but awareness. Education, I realised, is what teaches us how not to become what the world fears we already are. In times of unrest, education is not a luxury; it is a stabiliser; a compass. As Steve Sinnott called it, ‘the great liberator.’ And for a group of boys who were once searched at a gate, it became the reason we walked out trusted, not by authority, but by ourselves. BY JOENTY NGOMA CULTURAL HIGH SCHOOL SOUTH AFRICA (GRADE 11) 
By Shahnaz Akhter April 22, 2026
On a recent trip to Pakistan, I was struck by two contrasting images. In one, school children moved through the chaos of Rawalpindi’s streets, their journey interrupted by traffic, by cows being walked through the road, by the everyday disorder of the city. In another, young children carried heavy bags for street vendors who give them employment; their labour, part of the same urban rhythm but pointing to very different futures. Access to education, as is often referenced in this magazine, is not universal. I reference Pakistan not only because of these scenes, but because it is closely linked to my heritage and identity. Reflecting on what education means, and how I interact with it, has been central to my academic journey. Coming from a family where my parents were not formally educated, education has provided me with opportunities that were not previously available to them. This experience shaped my decision to work in widening participation in the Department of Politics and International Studies at the University of Warwick. One of the projects we developed was the Colonial Hangover Project, designed to explore the everyday legacies of colonialism. The project aimed not only to give school-aged students the confidence to speak back to a curriculum that often remains silent on their histories, but also to create opportunities for experiences they might otherwise not have access to because of their backgrounds. It was through the Colonial Hangover Project that we enabled students to speak at the Colonial Legacies conference held at Coventry Cathedral. Students from across Coventry spoke about their heritage, produced art, and sang gospel songs reflecting their experiences as young people whose families are linked to British history through empire. They spoke about local histories, including the grave of enslaved child Myrtilla, about South Asian heritage, and about the ways colonial hierarchies have shaped relationships between communities, including the persistence of anti-Blackness within some South Asian communities. Over 400 students came together during the day to celebrate their heritage and to speak within the cathedral. Building on this momentum, the work sparked a wider ambition: to ensure that all schools, particularly those in areas of high deprivation such as Coventry, could access sustained opportunities rather than one-off interventions. This led to a drive to connect schools to the UNESCO ASPnet Schools Network, widening access to global learning while embedding students within an international community committed to peace, cultural understanding, and social justice. For a city shaped by postindustrial decline and uneven educational outcomes, this connection mattered. It enabled students to see their local experiences as part of a wider global story. Alongside this, we drew on the Hidden Heroes campaign led by Preet Gill and Tom Tugendhat, encouraging students to identify and celebrate their own heroes within their families and communities. This created pathways for young people to speak in the UK Parliament, bringing together local heritage, global networks, and civic voice. Together, these strands reflected a shared commitment: widening participation not only in education, but in belonging and representation. BY SHAHNAZ AKHTER Associate Director is based in the Department of Politics and International Studies at the University of Warwick, where she works in widening participation and outreach. Her work focuses on creating meaningful pathways for school-aged students from underrepresented backgrounds to engage with higher education, civic life, and global learning.