The theme of museum closures has been a prevalent topic in recent years, primarily in response to the challenges posed by the Covid pandemic for museums and galleries. However, the National Portrait Gallery stands out as one of the few institutions that proactively planned for a period of closure. Committed to turning off the lights between 2020 and 2023 due to its transformative project, Inspiring People, the gallery had already organized a series of nationwide activities, partnership activations, and digital projects before the onset of Covid.

One notable project arising from this initiative is the “Living Portraits” series, launched in November 2021. This collaborative effort involves the Athena Art Foundation, Colnaghi Foundation, National Portrait Gallery, and immersive storytellers Megaverse. The goal of the series is to narrate the stories of historical characters in a “unique and authentic way.”

The inaugural portrait receiving the Living Portraits treatment is that of the 19th-century bare-knuckle boxer and butcher, Jem Belcher. Katherine Biggs, Head of Digital at the National Portrait Gallery, will delve into this project in her upcoming presentation at the MuseumNext Digital Exhibitions Summit. The project aims to bring this historic artwork to life “using technology and theatricality while retaining historic authenticity.”

Biggs emphasizes that the driving force behind the project is to explore how technology can attract under-engaged audiences, especially younger people. The idea is to bring the portrait out of the frame and make it speak to people without compromising historical authenticity.

The authenticity of the project is crucial for the National Portrait Gallery as they strive to strike a balance that helps people better engage with portraits, even those that may not have resonated with them previously, without misrepresenting the original portrait.

To bring Jem Belcher to life, the team enlisted the help of the National Youth Theatre and writer/director Edem Kelman. The creation of a Belcher monologue voiced by an NYT actor allows Jem to communicate with the audience and provide insights into his intriguing life journey.

Jem’s life is particularly interesting for this treatment, with his working-class background and beginnings as a butcher standing in stark contrast to his later reputation as a champion prizefighter and eccentric pugilist—an early example of a sporting celebrity.

The involvement of the National Youth Theatre is vital, given their experience in engaging young people with arts and culture. Their forums have become an essential part of the feedback network for Living Portraits. Coupled with the technical expertise of Megaverse, the collaboration has proven to be an exciting and fruitful endeavor.

Looking ahead, Katherine envisions exploring how this form of treatment works with different artworks presenting varied opportunities and challenges. The team contemplates utilizing motion capture technology both online and on-site, offering a new way to immerse audiences without compromising the traditional experience of enjoying the original portrait.

However, Katherine acknowledges that there isn’t a one-size-fits-all model for all artworks or people. Regardless of the chosen technological solution, the team remains conscious that it may not appeal to everyone, considering the distinct characteristics of online and traditional in-person audiences.

The National Portrait Gallery aims to create unique and immersive experiences that add value to the art engagement landscape. When approaching a new digital initiative, Katherine highlights the success of working in partnership with organizations like Athena Art Foundation and Megaverse. Despite the abundance of ideas in initial meetings, the challenge lies in narrowing down those ideas into a cohesive proposition.

At the current stage, the focus is on testing and gathering feedback from the audience. The gallery aims to understand what people appreciate about their initiatives. As they prepare to reopen next year, they look forward to bringing digital experiences into the gallery itself. Importantly, they remain open to possibilities and refrain from locking themselves into preconceived ideas of where the initiatives might lead in the coming years.