Introduction
Discarded flags that once hung from lamp posts across parts of Britain have been given a new purpose through an ambitious community art project in Birmingham. Instead of allowing worn and damaged flags to become waste, textile artist Clare Elisabeth and event producer Sam Shipman have helped transform them into a large-scale artwork designed to highlight community, heritage and togetherness.
The project, known as “Re-Union Jack,” uses fabric salvaged from flags that had previously been displayed on lamp posts. The artwork measures approximately four metres by seven metres and brings together dozens of pieces of worn polyester material. It also features the names of hundreds of notable people connected with Birmingham and the wider West Midlands.
The artwork comes after a period in which the display of Union flags and St George’s Cross flags on lamp posts became a subject of public debate in several parts of England. Some campaigners described the displays as expressions of patriotism and national pride, while others argued that the flags had contributed to tension and division within communities.
Against that background, the creators of Re-Union Jack chose a different approach. They wanted to take material associated with a controversial public debate and turn it into something that could represent the diverse communities of the West Midlands.
What Is the Re-Union Jack Project?
Re-Union Jack is a large textile artwork created from flags that had previously been attached to lamp posts.
According to reporting from the Press Association, Birmingham-based textile sculptor Clare Elisabeth developed the idea after seeing a social media post asking whether anything could be done with flags that had been removed from lamp posts. Rather than allowing the material to be thrown away, she considered how it could be reused for a creative project.
The result was an enormous Union Jack-inspired artwork with a different message.
The name “Re-Union Jack” reflects the project’s central idea: taking existing material and reimagining it as a symbol of togetherness. The artwork is not simply a conventional flag. It also contains the names of people who have contributed to or influenced life in Birmingham and the West Midlands.
This combination of recycled material, local history and community participation gives the artwork a wider meaning beyond its physical appearance.
From Discarded Flags to a New Piece of Art
One of the most interesting elements of the project is its use of discarded material.
Flags used outdoors can become worn because of exposure to rain, wind and sunlight. Polyester fabric can tear, fade or lose its original appearance after prolonged use. Instead of sending those materials directly to waste, the Re-Union Jack project found another possible use for them.
The project demonstrates how old textiles can become raw materials for creative work.
Textile recycling and upcycling have become increasingly important areas of contemporary design. Artists and designers frequently use old clothing, banners, fabrics and other materials to create new objects. Such projects can give discarded materials a second life while also telling a story about where they came from.
In this case, the history of the material is especially important.
The flags had previously been displayed on lamp posts and became part of a wider public conversation about national identity, patriotism and community relations. By transforming those materials into a collaborative artwork, the project gave them a new context.
A Response to Community Division
The creators have described the project as a response to the division they believe the flag-raising movement created in communities.
Flags are powerful symbols. They can represent national identity, history, sporting celebrations, remembrance and pride. At the same time, symbols can acquire different meanings depending on the circumstances in which they are displayed.
During 2025 and 2026, Union flags and St George’s Cross flags appeared on lamp posts in a number of English communities. Some campaigners said the displays represented national pride and unity, while critics raised concerns about the political context surrounding some of the flag-raising activity.
The debate was particularly visible in Birmingham and surrounding areas.
The Re-Union Jack project does not remove the national symbolism of the Union Jack. Instead, its creators have attempted to place that symbol within a broader story about the people and communities of the West Midlands.
Why the Name “Re-Union Jack” Matters
The name of the artwork is an important part of its message.
“Re-Union Jack” combines the familiar name of the Union Jack with the idea of reunion. The title suggests bringing people, stories and communities together.
For the artists, the project represents an opportunity to take something that had become associated with disagreement and give it another interpretation.
The artwork therefore operates on two levels.
At one level, it is a large textile creation made from recycled flags.
At another, it is a community project about identity and belonging.
The creators have emphasized that the artwork is intended to represent the West Midlands as a place shaped by people from many different backgrounds.
Hundreds of Names Added to the Artwork
A major feature of Re-Union Jack is the inclusion of names.
According to the project’s reporting, hundreds of notable figures from Birmingham and the wider West Midlands were researched and added to the artwork. Some people also visited the project and added their own signatures.
The names help transform the piece from a simple textile object into something resembling a large community record.
Among those connected with the project are a descendant of industrial pioneer James Watt and members of Birmingham music groups Steel Pulse and UB40.
This approach reflects the project’s attempt to celebrate people who have helped shape the cultural, industrial and social identity of the region.
Rather than focusing only on one interpretation of British identity, the artwork highlights a collection of people and stories.
Birmingham’s Diverse Cultural Identity
Birmingham has long been associated with cultural diversity, industrial development and migration.
The city and wider West Midlands have been shaped by people from many communities. Music, manufacturing, sport, food, education and the arts have all contributed to the region’s identity.
The Re-Union Jack project draws attention to this history.
The creators describe the Midlands as a “magical melting pot,” emphasizing the mixture of people and influences that have helped define the region.
The artwork therefore uses a familiar national symbol while filling it with local stories.
This gives the project a distinctly regional character.
The Role of Textile Art
Textile art has an important place in contemporary creative practice.
Artists working with textiles can use sewing, stitching, gluing, weaving, printing and layering to create large and complex works. Fabric also has a unique ability to carry memories because it is often connected with clothing, flags, banners and other objects used in everyday life.
Clare Elisabeth normally works with vintage fabrics, making the use of old flags a natural extension of her creative practice. The Re-Union Jack project allowed her to work on a much larger scale.
The artwork was sewn and glued by a small team led by the artist.
Its approximately four-metre-by-seven-metre dimensions make it large enough to function as a public artwork rather than simply a gallery-sized textile piece.
Three Months of Community Creativity
The creation of Re-Union Jack was not an overnight process.
The artwork was produced over approximately three months at The Drop Inn, a cultural and community venue in Birmingham’s Digbeth area.
This period allowed the project to develop as a collaborative activity.
People could contribute names, signatures and support while the physical artwork was being assembled.
The process itself is significant because it means the project is not only about the final product. The making of the artwork became part of the community experience.
The Importance of Reusing Materials
The project also raises broader questions about waste and sustainability.
Large numbers of temporary banners and flags can create waste when campaigns, celebrations or public displays end. Reusing such materials can reduce the amount of fabric sent to landfill and can give unwanted objects a new purpose.
Upcycling differs from simply recycling because the original material is transformed into a new product without necessarily being broken down into its basic components.
In Re-Union Jack, old flag material retains part of its original history while becoming something different.
This approach can inspire other communities to think creatively about unwanted materials.
Old banners could potentially become artworks, community installations, bags, decorations, educational materials or other useful objects.
The Broader Debate Around Lamp-Post Flags
The artwork emerged from a wider debate over flags attached to public infrastructure.
During the flag-raising campaigns, councils and residents responded in different ways. Some local authorities removed flags because of concerns over permission, safety or their attachment to public infrastructure. In England, the Highways Act 1980 includes restrictions on attaching items to structures on public highways without the relevant authority’s permission.
The issue therefore involved more than symbolism.
It also raised practical questions about who has permission to attach materials to lamp posts and other public structures.
Some communities supported the displays as expressions of national pride, while others questioned their impact and meaning.
This disagreement created the social context in which the Re-Union Jack project emerged.
Turning a Difficult Conversation Into Creativity
Public disagreements can sometimes become entrenched.
People may hold strong views about national identity, immigration, patriotism, community belonging and the use of public spaces. The Re-Union Jack project offers a creative way of engaging with some of those themes without simply repeating the arguments surrounding them.
Its approach is based on transformation.
Instead of focusing on whether a particular flag should or should not be on a lamp post, the project asks what can happen to the material after it has been removed.
The answer, in this case, is a large collaborative artwork.
That change of perspective is one of the project’s most interesting characteristics.
The Role of Community Participation
Community involvement is central to Re-Union Jack.
The project was developed by Goldship, an artistic collaboration involving Clare Elisabeth and Sam Shipman. The team worked with others to collect names and signatures and to create the final artwork.
This collective process is reflected in the project’s message.
The artwork is not presented simply as the work of one artist. Instead, its creators describe it as something shaped by many participants.
That idea is particularly important for public art.
Public artworks can create opportunities for people to see their own stories represented in shared spaces. They can also encourage conversations between people who might otherwise have little opportunity to interact.
The West Midlands Through Its People
The choice to include hundreds of names gives Re-Union Jack another layer of meaning.
A region is not defined only by its buildings, roads or landmarks. It is also defined by the people who live there, work there and contribute to its culture.
The names included in the artwork represent different aspects of the West Midlands story.
Industrial history is represented through figures connected to innovation. Music and popular culture are represented through artists and performers. Community identity is represented through the many people whose contributions may not always appear in traditional histories.
The artwork therefore becomes a celebration of people as well as a piece of textile design.
From Controversial Symbol to Shared Artwork
The most distinctive feature of the project is its attempt to change the context of the flags.
The same material that once appeared separately on lamp posts has been combined into a single artwork.
Instead of being individual pieces attached to street furniture, the fabric now forms part of a collective design.
This physical transformation mirrors the project’s stated social message.
Pieces that were once separate have been brought together.
The artwork’s title reinforces this idea by connecting the Union Jack with reunion and togetherness.
Public Display in Birmingham
The Re-Union Jack artwork’s first public viewing is taking place at Birmingham’s Council House during International Day of Birmingham celebrations on Thursday and Friday, according to the Press Association report published on September 24, 2026.
The public presentation gives the project an opportunity to reach a much wider audience.
Rather than remaining inside the workshop where it was created, the artwork can become part of a larger public conversation about Birmingham, culture and community.
Its location is also significant because the Council House is a recognizable civic building in the city.
Why Public Art Can Matter
Public art can influence the way people think about familiar places and issues.
A sculpture, mural, installation or textile artwork can provide a different way of discussing subjects that are often difficult to address through political or social debate alone.
Re-Union Jack demonstrates how art can use existing materials and symbols to create a new conversation.
The project does not erase the history of the flags. Instead, it incorporates that history into a new object.
That is one reason the artwork can be understood as an example of creative reuse as well as community art.
Sustainability and Creative Reuse
The environmental aspect of the project should not be overlooked.
Using discarded fabric reduces the need for entirely new materials for the artwork. More importantly, it demonstrates the potential of creative reuse.
The fashion and textile industries generate significant amounts of waste, and artists have increasingly explored ways to use unwanted textiles in new forms.
Community projects can play a role in this movement because they can collect materials that might otherwise be thrown away.
The Re-Union Jack project shows how an object that has reached the end of its original purpose does not necessarily have to become waste.
A New Story for Old Materials
Every reused material carries a history.
The flags used in this project had been outdoors, attached to lamp posts and involved in a wider public discussion. Their physical wear is therefore part of their story.
By incorporating them into a new artwork, the creators preserve some of that history while giving it a different meaning.
This is one of the strengths of upcycling in art.
A new material may look clean and perfect, but an old material can carry evidence of its previous life.
Worn fabric, stitching and faded colours can become part of the visual character of a finished piece.
What the Project Says About Unity
The central message of Re-Union Jack is unity.
The artists have said they wanted to transform discarded flags into something more positive and focused on togetherness.
The idea is straightforward: materials associated with a divisive public debate can be combined into a work intended to represent community.
Whether every viewer interprets the artwork in the same way is another question.
Art is subjective, and national symbols can carry different meanings for different people.
However, the project’s stated purpose is clear. Its creators want the artwork to celebrate the people and communities of the West Midlands.
A Different Way to Think About National Symbols
National symbols often have multiple meanings.
A Union Jack can represent national identity, history, military remembrance, sport or personal pride. It can also become part of political campaigns or public protests.
Re-Union Jack places that symbol within a local and community-focused setting.
By adding the names of regional figures, the artwork connects a national symbol to the people and culture of a particular area.
This creates a conversation about whether national identity can include many different experiences at the same time.
The Future of Community Upcycling Projects
Projects like Re-Union Jack could inspire similar ideas elsewhere.
Communities often have access to unwanted materials from festivals, campaigns, sporting events, construction projects and public celebrations.
Instead of treating these materials purely as waste, artists and community groups can explore creative alternatives.
Possible projects could include:
- Large textile murals
- Community banners
- Recycled sculptures
- Educational displays
- Public installations
- Historical exhibitions
- Clothing and accessories
- Decorative community spaces
The key is to connect reuse with a meaningful story.
Lessons for Other Communities
There are several lessons that can be taken from the Re-Union Jack project.
First, unwanted materials can have creative value.
Second, community art can provide a platform for different voices.
Third, symbols that have become controversial can be placed into new contexts.
Finally, sustainability does not always require advanced technology. Sometimes it can begin with something simple: finding a new use for something that would otherwise be thrown away.
Conclusion
The transformation of discarded lamp-post flags into the Re-Union Jack artwork demonstrates how creative projects can give old materials a new life.
Created by Birmingham textile artist Clare Elisabeth with collaborator Sam Shipman, the four-metre-by-seven-metre artwork combines worn flag fabric with the names and signatures of people connected to the West Midlands.
Its creation followed a period of controversy around flags displayed on lamp posts in parts of England. Rather than allowing the discarded materials to become waste, the project reimagined them as part of a large community artwork.
The result is more than a piece of recycled textile.
It is a project about history, identity, creativity, sustainability and community participation.
By bringing many pieces of fabric together, Re-Union Jack also presents a visual metaphor for its central message: different pieces can become part of something shared.
As the artwork goes on public display in Birmingham, it offers another way to think about the role of national symbols in modern communities. Whether viewed primarily as textile art, an example of upcycling or a community statement, the project shows how discarded materials can be transformed into something with a completely new purpose.
In a time when public symbols can generate strong reactions, Re-Union Jack takes a different route. It uses creativity to encourage people to look at familiar materials from a new perspective—and to consider how art can turn a complicated story into an opportunity for connection.