Gallery One by Circuit PHF

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#mostyncylch

15.11.2014 — 01.03.2015

Gallery/Oriel 1

15.11.2014 — 01.03.2015

04 — 05

06 — 11

12 — 15

16 — 17

Dylunio/Design: Elfen.co.uk

18 — 45

#mostyncylch www.mostyn.org

Gwrthrychaeth/On Objecthood Gan/By: Alfredo Cramerotti Cyfarwyddwr / Director, MOSTYN Creu Arddangosfa/The Making of an Exhibition Gan/By: Adam Carr Curadur Rhaglen y Celfyddydau Gweledol/ Visual Arts Programme Curator Cromlin ddysgu/Learning curve Gan/By Tomos Jones Cydlynydd Prosiect Cylch/Cylch Project Coordinator Cylch/Circuit Gan/By Callum Doherty Aelod o Cylch/Cylch member. Curadwyd gan/Curated by aelodau Cylch/Circuit members: Lucy Browning Jess Cripps William Dean Callum Doherty Sarah Edwards Thomas Evans Carwyn Jones

Alaw Ogwen Jones Josie Le Vay Hannah Neary Bethan Nye Catrin Perry Lauren Natasha Eastwood-Roberts Peter Slania

Gallery/Oriel 1

Gw th ychaeth

On Objecthood

Gan/By Alfredo Cramerotti Cyfarwyddwr/Director MOSTYN

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Pe byddwn i’n gallu dweud rhywbeth am y gwrthrychau sydd gennym ni yn y tyˆ, yn y car, yn y gwaith, neu mewn man arddangos o ran hynny, ydy eu bod nhw’n cynrychioli math o “albwm cysyniadol”. Maen nhw’n dweud llawer am le byw’r perchennog a beth mae ef neu hi yn ei wneud, ond dim hynny yn unig. Maen nhw’n ymgorfforiad o naratif bywyd, yn ffordd o bortreadu’r person hwnnw i weddill y byd - weithiau mewn ffordd gynnil, ysgafn; troeon eraill mewn modd uniongyrchol, eofn ac ymosodol hyd yn oed. Ar ben hynny, maen nhw’n amlygu syniadau’r person, ei gysyniadau, ei uchelgeisiau, ei rwystredigaethau, ei ddymuniadau a’i gynlluniau. Yn aml, dim ond edrych o gwmpas sydd angen ei wneud i sylweddoli sut fath o berson ydyn nhw yn y bôn. Pan rydym ni’n colli rhywbeth, neu rywun, a drwy hyn yn dod i ddeall gwerth y peth sydd wedi’i golli, neu yn dechrau dod yn ymwybodol o hyn, rydym yn cydio’n ddwys wrth wrthrychau. Mae’r un peth yn wir am ddyheadau dyfodol, pan mae rhywun yn ymdrechu’n ffyrnig i ennill cariad, swydd, tir, delwedd o’u hunain sydd eto i ddod, bod ymdrech wedi’i ymgorffori mewn gwrthrychau penodol. Mewn stori fer o’r enw ‘Esther In The Night’, sy’n rhan o’r llyfr The Safety Of Objects, mae’r awdur A.M. Homes yn crynhoi’n berffaith y berthynas sydd gan bobl â gwrthrychau: I think about a burglar. He would come up to the porch, turn the knob, and come into my house. He would take things: the television, the VCR, the silver, my jewelry, things I’ve collected over the years, collected as symbols of my marriage, things that sometimes seem as though they are the marriage. I would help him pack. He would take the things that make me who I am, and then I would be able to be someone else. Mae’r darn uchod, ac efallai’r llyfr i gyd, yn drosiad cryf o beth sydd wedi bod, a beth sy’n ein disgwyl yn nhermau ein perthynas â gwrthrychau. Nid yw byth yn achos syml o ddefnydd, o statws neu o angen. Mae’n gwestiwn agored am beth mae’n ei olygu i fod yn ddynol, wedi’i ymgorffori rhywsut drwy eitemau wedi’u gwneud gan ddyn, mewn naratif cylchol heb ateb dilyniannol. Yn wahanol i ni.

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If something can be said of the objects we have at home, in the car, at work, or in an exhibition space for that matter, it is that they represent a sort of “concept album”. They talk about the owner’s living space and what he or she does, but not only that. They are the embodiment of a life’s narrative, a way to portray that person to the rest of the world – sometimes in a subtle, gentle way; at other times in a direct, brash and even aggressive manner. Furthermore, they are that person’s own ideas made manifest – concepts, ambitions, frustrations, desires, plans. Often it takes just looking around to realise what he or she is fundamentally about. When we have lost something or someone and, through this, come to an understanding of the value of what could be lost, or are just beginning to be aware of this, we cling intensely to objects. The same goes for future longings, when someone who fiercely strives to win a love, a job, a territory, a self which is yet to come, that striving is embodied in specific objects. The author A.M. Homes, in a short story called ‘Esther in The Night’ which is part of the book The Safety of Objects (Granta, 1990) sums up perfectly the relations people have with objects: I think about a burglar. He would come up to the porch, turn the knob, and come into my house. He would take things: the television, the VCR, the silver, my jewelry, things I’ve collected over the years, collected as symbols of my marriage, things that sometimes seem as though they are the marriage. I would help him pack. He would take the things that make me who I am, and then I would be able to be someone else. The passage above, and perhaps the whole book, is a powerful metaphor for what lays simultaneously ahead and behind in terms of our relations with objects. It is never a simple matter of use, or status, or necessity. It’s an open question about what it means to be human somehow embodied through articles fabricated by humans, in a circular narrative that has no solution of continuity. Unlike us.

Gallery/Oriel 1

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Arddangosfa sy’n torri tir newydd yw Oriel 1 wedi’i churadu gan gyfranogwyr Cylch, mewn cydweithrediad gyda’r artist Bedwyr Williams, Cydlynydd Prosiect Cylch Tomos Jones, Cynorthwydd Prosiect Cylch Georgia Colman a minnau, gyda chefnogaeth ychwanegol gan yr artist Jan Miller a staff MOSTYN. Rhaglen genedlaethol bedair blynedd yw Cylch, yn cysylltu pobl ifanc 15 i 25 oed â’r celfyddydau mewn orielau ac amgueddfeydd, gyda chefnogaeth TATE ac wedi’i hariannu gan Sefydliad Paul Hamlyn.

C eu A ddangosfa

The Making of an Exhibition

Gan/By Adam Carr Curadur Rhaglen y Celfyddydau Gweledol Visual Arts Programme Curator MOSTYN

Dywedaf fod prosiect Oriel 1 yn torri tir newydd am fod pobl ifanc wedi cael rhan uniongyrchol yn ei greu. Pan gychwynnais ar fy ngyrfa fel curadur, oddeutu 10 mlynedd yn ôl, ni fuaswn wedi ystyried gweithio gyda grwˆp o bobl yr oedd creu arddangosfa yn dasg gymharol ddiarth iddynt. Hwyrach fy mod i wedi llacio fy staes erbyn hyn, wedi agor fy meddwl i bosibiliadau eraill, ac o bosib wedi dod yn fwy parod i fentro. O ystyried y peth yn fanylach, serch hynny, mae’r prosiect cyfan yn gwbl gyson â’m huchelgeisiau cynnar a’m hymarfer cyfredol, sef fy mod yn anelu at guradu arddangosfeydd mewn ffyrdd newydd a gwahanol. I MOSTYN, mae’n cyd-fynd yn berffaith â gweledigaeth ei raglen arddangosfeydd, sy’n anelu at hyrwyddo newydd-deb, newid ac awydd i arloesi.

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Gallery 1 is an innovative exhibition curated by the participants of Cylch, working in collaboration with artist Bedwyr Williams, Cylch Project Coordinator Tomos Jones, Cylch Project Assistant Georgia Colman and myself, with additional support from artist Jan Miller and MOSTYN staff. Cylch is a four-year national programme connecting 15–25 year olds to the arts in galleries and museums, supported by TATE and funded by the Paul Hamlyn Foundation. I say that the Gallery 1 project is innovative, because it has directly involved young people in its making. When I started my career as a curator, approximately 10 years ago, I would not have considered working with a group of people for whom exhibition making was a relatively unknown task. Perhaps at this point I have loosened up, become open to other possibilities and, some might say, open to risk. Considering it more closely, however, the whole project is very much in line with my early ambitions and current practice, in that I aim to curate exhibitions in new and different ways. For MOSTYN, it perfectly meets the vision of the exhibition programme, which sets out to promote innovation, change and a desire to be pioneering.

15.11.2014 — 01.03.2015

O feddwl amdanaf fy hun 10 mlynedd yn ôl, buaswn wedi ateb y meini prawf ar gyfer ymuno â Cylch o ran oedran, a byddwn wedi neidio am y cyfle i weithio ar rywbeth fel hyn. Eto, doedd prosiect Cylch ar dechrau ddim wedi’i anelu tuag at greu arddangosfa. Nid fel hyn yr oedd hi i fod, ond gydag amser mae wedi datblygu i ddod yn rhan o’r rhaglen arddangosfeydd ac wedi caniatáu gofod cydweithio unigryw i dderbyn syniadau, egni a chreadigrwydd pobl ifanc i mewn i’r sefydliad. Yn aml bydd cynlluniau mewn orielau celf ac amgueddfeydd sy’n cynnwys pobl ifanc yn rhan o ryw waith ychwanegol, ac anaml y byddant yn ymwneud â chyflwyno arddangosfeydd. Pan glywais gyntaf am raglen Cylch ym MOSTYN, rhaid imi gyfaddef mai felly yr oeddwn i’n rhagweld y byddai’n digwydd. Yn ôl traddodiad a chonfensiwn, dydi mentrau sy’n defnyddio pobl ifanc, hyd yn oed dan arweiniad eu cyfoedion, ddim i fod i ymhel â’r gwaith o wneud penderfyniadau go iawn ar ran sefydliad; fydd pobl ifanc fel arfer ddim yn cyfranogi yn y drefn guradu ac yn sicr fyddan nhw ddim yn cael eu rhoi mewn safle o gyfrifoldeb mawr. Er gwaethaf hyn i gyd, roedd awydd mawr gan aelodau Cylch, gyda chefnogaeth Tomos Jones, i gael mwy o ran yn y broses o greu arddangosfeydd ym MOSTYN. Ar y dechrau, gallai ymddangos bod curadu arddangosfa gyda phobl ifanc yn fenter enbyd, neu hyd yn oed yn fygythiad. Ond gellir dehongli menter fel posibilrwydd hefyd. A heb y posibilrwydd o annog yr anghyfarwydd a chwilio tir sydd heb ei fapio, siawns na fyddem yn colli’r cyfle i ddysgu a symud ymlaen? O fewn y celfyddydau gweledol, bydd artistiaid yn aml yn caniatáu newid ac yn gadael i rywbeth annisgwyl ddigwydd. Mae pob arddangosfa’n wahanol, wrth gwrs, a thra bydd rhai tasgau curadurol yn parhau’n debyg, bydd bob amser ryw ofynion gwahanol ar gyfer pob artist a phob sioe.

Gallery/Oriel 1

Thinking about 10 years ago, I would have met the criteria for joining the Cylch group in terms of age, and I would have jumped at the chance of working on something like this. Yet, the Cylch project was not initially guided towards an exhibition. It was not supposed to be this way, but over time it has developed into becoming part of the exhibition programme and allowed a unique collaborative space to integrate young people’s ideas, energy and creativity into the organisation. Schemes in art institutions and museums involving young people are often part of additional engagement and are rarely concerned with the presentation of exhibitions. When I first heard of the Cylch programme at MOSTYN, I must admit I thought it would play out that way. According to tradition and convention, initiatives engaging young people, even if peer led, are not supposed to be involved in the real decision making of an organisation; young people do not typically participate in the process of curating and they are most certainly not placed in a position of great responsibility. Despite all of this, there was a real desire from Cylch members, supported by Tomos Jones, to be more involved in the process of making exhibitions at MOSTYN. Initially, curating an exhibition with young people might seem full of risk, even a threat. However, risk can also be interpreted as possibility. And without the possibility of encouraging the unfamiliar and exploring the uncharted, surely we would avoid the chance of learning and progressing? Within the visual arts, artists often allow change and something unexpected to occur. Each exhibition is of course different and, while some curatorial tasks remain similar, there are always different approaches for each artist and for each show. Although change is rarely embraced by curators, I have always enjoyed pushing the boundaries in terms of exhibition making, so I was enthusiastic about collaborating on this project.

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Ond anaml y bydd curaduron yn croesawu’r gwahanol, er bod ambell un y mae eu gweledigaeth yn ymhlygu unrhyw beth ond dilyn y drefn arferol. Gan osod traddodiad o’r neilltu, mae’r arddangosfa hon wedi gosod aelodau Cylch yn gadarn yn sedd y gyrrwr. Y man cychwyn oedd nifer o sesiynau agoriadol lle buom yn siarad am waith curadu a chyflwyno arddangosfa. Soniais am rôl y curadur, gan grybwyll sut a pham y gallai fod wedi newid yn ystod ei hanes, drwy roi cyflwyniad am greu arddangosfeydd, gan ddechrau o’r dechrau gyda ‘chwpwrdd trugareddau’ yr 16eg ganrif trwodd i’r presennol. Mewn ail sesiwn rhoddais grynodeb sydyn arall gan fynd i’r afael â syniad a thasg cyflwyno. Roeddwn yn awyddus i ddarparu amrywiaeth fawr o enghreifftiau o arddangosfeydd, gan gynnwys y rhannau hynny o raglen ac arddangosfeydd MOSTYN lle roedd y syniad o gyflwyno wedi’i wthio i’r eithaf. Dyma pryd y symudodd y drafodaeth gyda’r grwˆp i lefel newydd. Roedd agwedd grwˆp Cylch at eu harddangosfa’n mynd i fod braidd yn ‘amgen’, felly teimlai’r aelodau y dylai’r cyflwyniad adlewyrchu hynny hefyd. Yr hyn roedd ei angen nawr oedd fframwaith – rhywbeth i ddod â phopeth at ei gilydd, harneisio’r weledigaeth a chaniatáu llais i bob aelod o’r grwˆp fel ei gilydd. Mewn sgyrsiau pellach, soniwyd dro ar ôl tro am y ffordd y mae’r cyfryngau’n portreadu’r genhedlaeth iau. Y dewis amlwg fuasai defnyddio hyn fel thema a chreu arddangosfa o weithiau celf yn seiliedig arni, ond nid oedd celf gyfoes yn faes cyfarwydd iawn i’r rhan fwyaf o aelodau’r grwˆp. Gallai problemau ynghylch sicrhau bod gweithiau ar gael i’w benthyg fod wedi peri y byddai hon yn broses hir a thrafferthus. Penderfynwyd felly y byddai pob aelod o’r grwˆp yn dewis un peth oedd yn dweud rhywbeth amdanynt fel person, yn adlewyrchu eu diddordebau nawr neu yn y gorffennol.

#mostyncylch

Putting tradition to one side, this exhibition has placed Cylch members firmly in the driving seat. The starting point came about during a number of initial sessions in which we spoke about curating and exhibition presentation. I spoke about the role of the curator, including how and why it might have changed over the course of this history through a presentation of exhibition making, starting from the cabinet of curiosities in the 16th century through to the present. In a second session I provided another fleeting summary, which tackled the idea and task of presentation. I was keen to provide a large variety of examples of exhibitions, including those parts of MOSTYN’s programme and artist curated exhibitions where the idea of presentation was pushed to the limit. It was at this point that the discussion with the group seemed to find an extra gear. The Cylch group’s approach to their exhibition was going to be somewhat alternative, so the members felt that the presentation should mirror that as well. What was needed now was a framework – something which brought everything together, harnessed the vision and allowed all of the group members an equal say. During further conversations, the topic of how the media perceived the younger generation kept cropping up. The obvious choice would have been to use this as a theme and to make an exhibition of artworks based around it, however most of the group members were not well acquainted with contemporary art. Issues around availability could have made this process lengthy and problematic. It was then decided that each member of the group would choose an object which said something about them as a person, reflecting their current or past interests. This would allow for a more personal exhibition – a more accurate portrayal of young people than one that those of another generation could present.

15.11.2014 — 01.03.2015

Byddai hyn yn caniatáu arddangosfa fwy personol – a phortread cywirach o bobl ifanc na’r hyn y gallai aelodau cenhedlaeth arall ei gynnig. Dewisodd pob aelod o Cylch eitem oedd yn cyfleu ac yn cofnodi eu diddordebau orau yn eu tyb nhw. Cafwyd pethau o bedwar ban byd, oddi wrth gwmnïau enwog, selebs a ffynonellau ar-lein. Penderfynodd rhai aelodau na fyddai un peth ar ei ben ei hun yn ateb y diben o gyflwyno’u diddordebau. Dewisodd y rheiny yn hytrach greu prosiectau, gan gydweithio’n agos â phobl eraill. Caiff yr eitemau a’r prosiectau eu harddangos yn ein gofod Oriel 1, sydd wedi’i ailffurfio ar gyfer y sioe i roi iddo ei hunaniaeth a’i gymeriad ei hun. Ysbrydolwyd y cyflwyniad, yn rhannol, gan y syniad o amgueddfa am 2014, ar gyfer 2014. Caiff proses greu’r sioe – o safbwynt yr unigolion a’r grwˆp yn ei gyfanrwydd – ei ddangos yn yr arddangosfa hefyd. Bydd hyn yn cynnig cyfle i agor ffenestr ar y broses a’r penderfyniadau a arweiniodd at yr arddangosfa, ac yn rhoi rhyw lun o ddealltwriaeth i’r cyhoedd o’r modd y caiff arddangosfeydd yn gyffredinol eu curadu, eu gosod a’u cyflwyno. Trwy gydol y broses o guradu’r arddangosfa, mae aelodau Cylch nid yn unig wedi ymchwilio i’w dehongliadau eu hunain o greu a churadu celf, ond hefyd wedi herio’r canfyddiadau a’r rhagfarnau amdanynt eu hunain, y to iau. Rwy’n ysgrifennu’r testun hwn fis cyn i’r arddangosfa agor. Er bod ychydig o amser i fynd o hyd, a nifer o dasgau i’w cyflawni, rwy’n gallu gweld bod pob un wan jac o aelodau’r grwˆp wedi dod ffordd bell ers y sesiynau cyntaf. Maen nhw wedi dysgu gwybodaeth helaeth am greu arddangosfa, ond hefyd, yn bwysicach, maen nhw wedi gallu adeiladu hyder personol trwy eu gwaith. Bydd y wybodaeth hon a’r profiad hwn yn ddefnyddiol yn y dyfodol, beth bynnag y penderfyna’r bobl ifanc ei wneud.

Gallery/Oriel 1

Each Cylch member chose an object that they felt best captured and documented their interests. Objects were obtained from across the globe, from well-known companies, celebrities and online outlets. Some members decided that one object would not serve the purpose of presenting their interests. In these cases, they elected to make projects instead, collaborating closely with other people. Both objects and projects are to be displayed in our Gallery 1 space, which has been reconfigured for the show to give it its own identity and character. The presentation has been inspired, in part, by the thought of a museum both of and for the present. The process of making the show – in terms of the individuals and of the group as a whole – will be displayed in the exhibition as well. This offers the opportunity to make visible the process and decision making leading up to the exhibition, and gives the public a partial understanding of how exhibitions in general are curated, assembled and delivered. Throughout the course of curating the exhibition, Cylch members have not only explored their own interpretations of art making and curating, but also the perceptions and preconceptions about themselves, as the younger generation. I write this text a month before the exhibition opens. While there is still some time to go, and there are a number of tasks to be completed, I can see that each and every one of the group members has come a long way from the initial sessions. They have gained a large span of knowledge about exhibition making, but also, more importantly, they have through their work been able to build personal confidence. This knowledge and experience will be of use in the future, whatever roles the young people decide to undertake.

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Yn bersonol, rydw innau wedi dysgu llawer drwy gydol y daith hon – mwy na hwythau, o bosib. Gan feddwl am y sgyrsiau cynnar gyda’r grwˆp, yn enwedig am y ffordd y mae eu cenhedlaeth nhw’n cael ei chamfarnu, hwyrach fy mod innau wedi bod yn euog o’r camddealltwriaeth hwn. Wnes i ddim rhagweld amrediad a dyfnder y pethau a ddewiswyd ganddynt maes o law i gynrychioli eu diddordebau a’u teimladau. Bu dysgu’n allweddol i broses creu Oriel 1, a gobeithio y trosglwyddir hynny i’r gynulleidfa. Casgliad yw’r arddangosfa o’r pethau sy’n cyffwrdd calon yr unigolion yn y grwˆp, eu dyheadau, a’u myfyrdodau, gyda’r nod o greu sioe atyniadol sydd nid yn unig yn procio’r dychymyg a’r deall, ond hefyd yn trechu disgwyliadau ac yn chwalu rhagdybiaethau’r gwyliwr. I’r byd celf weledol, gobeithio y cydnabyddir y dull newydd hwn o greu arddangosfa – ymrwymiad cryf i gyfranogiad pobl ifanc a gwerthfawrogiad o’u cyfraniad.

#mostyncylch

Personally, I have learnt a great deal throughout this journey, perhaps more than they have. Thinking about the early conversations with the group, particularly about how their generation is being wrongly characterised, maybe I have also been guilty of this misunderstanding. I did not anticipate the range and depth of what they eventually selected to represent their interests and passions. Learning has been key to the making of Gallery 1, which I hope will transfer to the viewing audience. The exhibition is a collection of the group’s individual passions, desires, and reflections, with the aim of not only creating an intellectual and visually engaging show, but also confounding expectation and shattering preconceptions on the part of the viewer. For the visual art world, I hope that this innovative approach to making an exhibition will be recognised – a strong commitment to the involvement of young people and a value placed on their contribution.

15.11.2014 — 01.03.2015

C omlin ddysgu

Lea ning cu ve

Gan/By Tomos Jones Cydlynydd Prosiect Cylch Cylch Project Coordinator

Gallery/Oriel 1

mostyn.org

Oherwydd fy mhrofiadau personol dwi wedi eisio creu gwahaniaeth positif i bobl ifanc erioed. Mae gen i ddiddordeb cryf mewn cefnogi ag annog datblygiad personol bobl ifanc, a diddordeb yn y rhan mae myfyrdod yn ei gymryd yn y broses yma. Mae fy nghefndir wedi’w seilio’n gryf mewn gwaith ieuenctid, ond yn flaenorol roedd hwn wedi’w seilio ar faterion penodol, neu yn canolbwyntio ar addysg drwy brofiad ac addysg awyr agored. Mae gweithio ym MOSTYN ar y rhaglen Cylch wedi creu cyfleoedd i brosesau celfyddydol droi’n gerbyd ar gyfer datblygiad personol, a hefyd fel catalydd i’r Oriel ddatblygu eu dulliau gweithredu wrth weithio yn y ffordd yma. Mae prosiect Oriel 1 wedi annog i’r bobl ifanc i gymryd drosodd y gofod, ehangu eu perchenogaeth o MOSTYN a chynnig profiad sydd wedi datblygu eu sgiliau a chynyddu eu ymwybyddiaeth a gwybodaeth o arddangosfeydd a phrosesau curaduriaeth. Mae’r prosiect wedi bod yn brofiad dysgu i fi a’r holl staff ym MOSTYN sydd wedi cymryd rhan, ac mae hyn yn nodi ffordd newydd i orielau celfyddyd gyfoes weithio. Mi rydw i’n gobeithio’n arw y bydd llwyddiant yr arddangosfa hon yn ehangu mynediad a chyfleoedd i bobl ifanc eraill gymryd rhan mewn prosiectau a lleoliadau tebyg ar draws y byd.

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Because of my own personal experiences, I’ve always wanted to make a positive difference for young people. I have a strong interest in supporting and encouraging personal development and the role that reflection has in this process. My background is firmly rooted in working with young people, although this has previously been through issue based work or centred around outdoor and experiential education. The Cylch programme at MOSTYN provides an opportunity for the artistic process to become a vehicle for personal development. It is also a catalyst for the gallery to consider a new way of working. The Gallery 1 project has encouraged the young people involved to take over the space, increased their ownership of MOSTYN and provided an experience which has developed their skills and extended their knowledge and awareness of exhibitions and curatorial processes. It has also been a learning curve for myself and the other staff involved at MOSTYN as this marks a new way of working for contemporary art galleries. I sincerely hope that the success of this exhibition will increase access and opportunities for other young people to become involved in similar ways at venues the world over.

15.11.2014 â&#x20AC;&#x201D; 01.03.2015

Gallery/Oriel Gallery/Oriel 1 1

mostyn.org

#mostyncylch

Cylch/Ci cuit

Gallery/Oriel 1

mostyn.org

Mae Cylch yn rhywle lle mae pobl ifanc yn dod at ei gilydd i greu rhywbeth haniaethol a allai newid barn cymdeithas a byd y celfyddydau am bobl ifanc. Mae Oriel 1 wedi ein galluogi ni i greu, cynhyrchu, gwneud sylwadau, cwestiynu, gwneud penderfyniadau, ystyried cysyniadau a thrafod manylion. Mae’r profiad o guradu Oriel 1 wedi rhoi cyfle i ni ddysgu sgiliau newydd, gwneud ffrindiau, cyfleu ein barn ei hunain am wahanol bynciau a chyfrannu ein syniadau i grw ˆ p. “Diddorol” yw’r gair sydd wedi’i ddefnyddio amlaf yn ystod Cylch, gan nad oes yr un dwy sesiwn yr un fath, ac rydym ni, y bobl ifanc, bob amser yn gwneud rhywbeth gwahanol, boed hynny yn yr oriel neu’r tu allan i’r oriel. Mae Cylch yn gwneud i chi gwestiynu eich hun. Mae wedi ein helpu ni i gyflawni a dal gafael ar ein rhinweddau gorau. Gyda’n gilydd, rydym wedi dysgu sut i weithio fel tîm a sut i gydlynu sgiliau ag eraill. Rydym wedi gweithio gyda churadur MOSTYN, Adam Carr, a gwahanol aelodau staff yn yr oriel, sydd wedi ein helpu ni i ddysgu am sut mae oriel yn gweithio. Mae Cylch wedi rhoi boddhad i ni drwy ein helpu ni i wella a rhoi hwb i’n hyder ni, ac rydym wedi gwneud yn well na’r oeddem wedi’i ddisgwyl fel pobl ifanc.

Gan/By Callum Doherty Aelod o Cylch/Cylch member.

Drwy gwblhau’r arddangosfa hon, rydym wedi cael yr hwb angenrheidiol fel pobl ifanc 15–25 oed, i gamu ar lwybr bywyd. Mae nifer o ddrysau newydd wedi agor i bawb, diolch i Cylch, ac arweiniodd un o’r rhain at weithio gyda’r artist rhyngwladol o fri, Bedwyr Williams, sydd wedi cydweithio gyda ni drwy gydol y broses.

#mostyncylch

Cylch is a place where young minds get together to make an abstract that could change the way society and the art world perceives young people. Gallery 1 has enabled us to create, produce, comment, question, make decisions, explore concepts, debate details. The experience of curating Gallery 1 has given us the chance to learn new skills, make friends, give our individual views about different subjects and contribute our ideas within a group. “Interesting” is the word most used throughout Cylch as no two sessions are the same and we, as young people, are always doing something different whether that be within the gallery or outside it. Cylch makes you question yourself. It has helped us to achieve and retain our best qualities. Together we have learned how to work in a team and how to co-ordinate skills with others. We have worked with MOSTYN curator, Adam Carr, and a range of gallery staff who have assisted us in learning about how a gallery works. Cylch has given us a sense of reward by helping to improve and build our confidence and we have exceeded expectations of ourselves as young people. The completion of this exhibition has given us the drive we need as 15–25 year olds to get started on the path of life. Through Cylch, new doors have opened for everyone. One of these led to working with internationally known artist, Bedwyr Williams, who has collaborated with us throughout the process.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Lucy B owning

#mostyncylch

I think language is often overlooked and I wanted to draw attention to how language develops; it takes from other languages and becomes something new. We’ve even developed grammar and dialects for slang, not to mention entirely new languages for technology. After deciding on language, then came the problem of representing it. I chose to create a timeline, focusing on English, my mother tongue. It’s a complex language with an incredible range of influences. By collaborating with Bedwyr Williams, the final product was created. There are an average of 14.7 new words created every day and we can observe the development of words simply by using dictionaries. There are hundreds of words dropped from the English language each year, for example the word ‘quaeritate’ meaning ‘to ask’. Even meanings of words change over time due to the context of their use, because language is not resolute, but fluid. Yn fy marn i does dim digon o sylw yn cael ei roi i iaith ac roeddwn i eisiau tynnu sylw at sut mae iaith yn datblygu; yn benthyg o ieithoedd eraill ac yn dod yn rhywbeth newydd. Mae gramadeg a thafodiaith wedi cael eu datblygu ar gyfer slang, hyd yn oed, heb sôn am ieithoedd newydd sbon ar gyfer technoleg. Ar ôl penderfynu ar iaith, yna daeth y broblem o’i chynrychioli. Penderfynais greu llinell amser gan ganolbwyntio ar Saesneg, fy mamiaith. Mae’n iaith gymhleth gydag amrywiaeth anhygoel o ddylanwadau. Drwy gydweithio â Bedwyr Williams, cafodd y cynnyrch terfynol ei greu. Ar gyfartaledd mae 14.7 o eiriau newydd yn cael eu creu bob dydd ac mae modd i ni arsylwi datblygiad geiriau yn syml iawn drwy ddefnyddio geiriaduron. Mae yna gannoedd o eiriau yn cael eu colli o’r Saesneg bob blwyddyn, er enghraifft y gair ‘quaeritate’ sy’n golygu ‘gofyn’. Mae hyd yn oed ystyr geiriau yn newid dros amser yn dibynnu ar gyd-destun eu defnydd, oherwydd dydy iaith ddim yn gadarn, mae’n gyfnewidiol.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Jess C ipps

#mostyncylch

The written word is important to me. I have always been a bookworm and a writer – to me, words are freedom. I chose the typewriter to reflect my passion for words, because it is the physical object I associate with literature and writing. It conjures up images of Jack Kerouac and the Beat Poets, late night creative fever... Around the typewriter - a Royal HH, just like Sylvia Plath’s - I built a fairytale scenario. The desk of a writer that I admire; solid and real, but completely fictional. I chose Sylvia Plath because I relate to her intelligence, her wit and the emotion that permeates her writing. I wanted to avoid the myth – her tumultuous relationship with Ted Hughes, her depression and suicide – and to focus on Plath as a woman and a writer. Mae’r gair ysgrifenedig yn bwysig i mi. Ers pan oeddwn yn ddim o beth rwyf wedi mwynhau darllen ac ysgrifennu - i mi, rhyddid yw geiriau. Dewisais y teipiadur i adlewyrchu fy angerdd am eiriau, oherwydd dyna’r gwrthrych rwyf i’n ei gysylltu â llenyddiaeth ac ysgrifennu. Mae’n gwneud i mi feddwl am Jack Kerouac a Chenhedlaeth y Bitniciaid, cyffro creadigol yn hwyr yn y nos... O gwmpas y teipiadur - Royal HH, yn union fel un Sylvia Plath - lluniais senario o hud a lledrith. Desg fel awdures roeddwn i’n ei hedmygu; cadarn a real, ond yn hollol ffuglennol. Dewisais Sylvia Plath oherwydd rwyf yn cysylltu â’i deallusrwydd, ei ffraethineb, a’r emosiwn sy’n treiddio drwy ei hysgrifennu. Roeddwn i’n awyddus i osgoi’r chwedl - ei pherthynas cythryblus â Ted Hughes, ei hiselder a’i hunanladdiad – a chanolbwyntio ar Plath fel dynes ac awdures.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

William Dean

#mostyncylch

We all have our goals, We all have ambition, Others help us grow with constructive criticism, The ever present game called life Is determined by the roll of dice, We all know where we want to be but just don’t know the way there; Put your shoes on you are one step away from your mayfair.

Monopoli’r Meddwl Mental Monopoly

Mae gan bawb nodau,Mae gan bawb uchelgeisiau, Mae eraill yn ein helpu i dyfu gyda beirniadaeth adeiladol, Mae’r gêm ddi-stop o’r enw bywyd Yn cael ei phennu gan dafliad dis Mae pawb yn gwybod lle maen nhw eisiau bod- ond cyrraedd yno yw’r anhawster-; Rhowch eich ‘sgidiau ‘mlaen- rydych chi un cam i ffwrdd o’ch mayfair.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Callum Dohe ty

#mostyncylch

I chose senses as I feel they are something important which we take for granted. I decided to concentrate on the sense of smell, and did some research into perfume making courses and kits. I managed to find a great experimental aroma kit from a company called Olfactik. Through trial and error I eventually found a scent to represent Gallery 1 and myself. Many people think we have 5 senses when in actual fact we have 18 senses – for example, equilibrioception allows you to keep your balance. We use our noses to smell. The inside of the nose is lined with the mucous membrane, which has smell receptors connected to a special nerve called the olfactory nerve. Smell receptors react with the molecules of what we smell, sending messages to the brain. Don’t take your senses for granted… Mi wnes i ddewis y synhwyrau gan fy mod yn teimlo eu bod yn elfen bwysig sy’n perthyn i ni gyd, ond ein bod yn eu cymryd yn ganiataol. Mi wnes i benderfynu canolbwyntio ar y synnwyr arogli, ac ymchwilio i offer a chyrsiau gwneud aroglau. Cefais hyd i offer arogl arbrofol gwych gan gwmni o’r enw Olfactik. Drwy brofi a methu, mi wnes i benderfynu ar arogl i gynrychioli Oriel 1 a fi fy hun. Mae nifer o bobl yn meddwl mai 5 synnwyr sydd gennym ni, ond y gwir ydy bod gennym ni 18 synnwyr, er enghraifft equilibrioception; sef y synnwyr sy’n gadael i chi gadw’ch cydbwysedd. Y trwyn yw’r organ rydym yn ei ddefnyddio er mwyn arogli. Mae’r tu mewn i’r trwyn wedi’i leinio gyda’r bilen ludiog, sydd â derbynyddion arogli sydd wedi’u cysylltu â nerf arbennig o’r enw y nerf arogleuol. Mae arogleuon yn cael eu gwneud â tharthau o amryw o sylweddau. Mae’r derbynyddion arogleuol yn adweithio i foleciwlau beth rydym ni’n ei arogli ac yn anfon negeseuon i’r ymennydd. Peidiwch â chymryd eich synhwyrau yn ganiataol...

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Sa ah Edwa ds

#mostyncylch

When asked what object meant something to me, my Lion King Happy Meal Toy came to mind. I took Kiara everywhere with me as a child and she signified happy memories with my family. Kiara was a McDonald’s Happy Meal toy from 1998, so we contacted McDonald’s. Unfortunately they did not keep an archive of old toys, so we ordered one from eBay. By choosing Kiara, I wanted viewers in the gallery to think of something they once shared an emotional attachment with. I wanted them to ask themselves if they still have this object and why. If not, would these people take the opportunity to find the thing they loved the most again? Kiara symbolises to me the sentimental feeling we have for objects throughout life; a connection that we cannot fully understand. Pan ofynnwyd i mi beth oedd yn golygu rhywbeth i mi, daeth fy Nhegan Happy Meal Lion King i’m meddwl. Fel plentyn roedd Kiara yn cael dod gyda mi i bob man ac roedd hi’n fy atgoffa o atgofion melys a gefais gyda fy nheulu. Tegan Happy Meal Mc Donald’s o 1998 oedd Kiara, felly dyma ni’n cysylltu â McDonald’s. Yn anffodus dydy nhw ddim yn cadw eu hen deganau, felly dyma ni’n archebu un oddi ar eBay. Wrth ddewis Kiara, roeddwn i eisiau i’r bobl yn yr oriel feddwl am rywbeth roedden nhw’n arfer bod â chysylltiad emosiynol ag ef. Roeddwn i eisiau iddyn nhw ofyn i’w hunain, ydy’r peth yma yn dal gen i, a pham? Os ddim, a fyddai pobl yn mynd ati i ddod o hyd i’r peth gwerthfawr eto? I mi mae Kiara yn symbol o’r gwerth personol rydym yn teimlo am bethau yn ein bywyd, heb ddeall y cysylltiad yn iawn.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Thomas Evans

#mostyncylch

I am a photography student at the University of Portsmouth and as creative art students, we are told to broaden our visual horizons and contemplate contemporary ideas. Why did I choose blank film as an installation piece?

“ ‘A good snapshot keeps a moment from running away.’ Eudora Welty “

Life starts as a blank canvas or roll of film. As we grow older, what was originally a blank canvas/roll of film becomes a vivid concoction of images, senses, colours and memories. I have always seen my life as a roll of film and I take snapshots of my life as I grow up. There is still a long way to go and many more images to take. It’s been hard being in university and communicating with the gallery, but by using social media sites I have been able to set up this installation piece effectively.

Rwyf i’n astudio ffotograffiaeth ym Mhrifysgol Portsmouth ac fel myfyrwyr celfyddydau creadigol mae gofyn i ni ehangu ein gorwelion gweledol ac ystyried syniadau modern. Pam wnes i ddewis ffilm wag fel darn? Mae bywyd yn cychwyn fel cynfas neurholyn o ffilm wag. Wrth fynd yn hyˆn mae beth oedd yn wreiddiol yn ffilm/cynfas gwag yn dod yn gymysgedd byw o ddarluniau, synhwyrau, lliwiau ac atgofion. Rwyf i bob amser wedi gweld fy mywyd fel rholyn o ffilm ac rwyf yn cymryd cipluniau o fy mywyd wrth dyfu i fyny. Mae yna dal gymaint i’w brofi a chymaint o luniau i’w cymryd. Mae wedi bod yn anodd cyfathrebu â’r oriel tra fy mod yn y Brifysgol, ond drwy ddefnyddio gwefannau cymdeithasol rwyf wedi medru gosod y darn yn effeithiol.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Ca wyn Jones

#mostyncylch

Throughout my life I have been listening to music made with a Stratocaster. It’s the guitar of my dreams, used by my heroes – Hendrix, Clapton and Harrison. The guitar has brought me closer not only to friends but also to my father, as he introduced me to the music of Thin Lizzy, Led Zeppelin and The Beatles. While my admiration for these artists still exists, my tastes have shifted as my circle of friends has grown. This guitar symbolises one of my greatest talents and passions and the playlist (including the greatest users of the Stratocaster) shows where my inspiration came from. One small piece of wood and metal has inspired hate, ignorance, peace and love over several generations and has changed many people’s way of thinking. Drwy gydol fy mywyd rwyf wedi bod yn gwrando ar gerddoriaeth gyda Stratocaster yn cael ei ddefnyddio yn y mwyafrif o ganeuon. Dyma gitâr fy mreuddwydion, sydd wedi’i ddefnyddio gan fy arwyr - Hendrix, Clapton a Harrison. Mae’r gitâr wedi cryfhau fy mherthynas â fy ffrindiau a fy nhad hefyd, gan iddo ef fy nghyflwyno i gerddoriaeth Thin Lizzy, Led Zeppelin a The Beatles. Tra bod fy nghariad at yr artistiaid hyn yn dal i fod, mae fy chwaethau i wedi datblygu wrth i fy nghylch ffrindiau dyfu. Mae’r gitâr hwn yn symbol o fy mhrif dalent ac angerdd, ac mae’r rhestr chwarae (gan gynnwys defnyddwyr enwocaf y Stratocaster) yn dangos o le ddaeth fy ysbrydoliaeth. Mae un darn bach o bren a metel wedi ennyn casineb, anwybodaeth, heddwch a chariad dros sawl cenhedlaeth, ac mae wedi newid ffordd o feddwl llawer o bobl.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Alaw Ogwen Jones

#mostyncylch

I decided upon this piece because I’ve always been fascinated by time and I wanted to explore this theme. A clock for me is a strong memory of my childhood (my grandfather collects and repairs clocks) and also a symbol of our world today. I wanted the viewer to value the simplicity of what drives this world and to question why time is important; all this while isolated from the distractions of busy schedules. Initially I wanted to use an original vintage clock that I stumbled upon, but it was too fragile. I found another clock, worked out how to amplify it and designed the plinth. The process was daunting at first but, after careful time management and team work, I believe the Cylch group has successfully changed MOSTYN in a creative way whilst also eliminating preconceptions of formality within a gallery. Penderfynais ar y darn hwn am fy mod bob tro wedi cael fy hudo gydag amser ac roeddwn i am archwilio’r thema hwn. Mae cloc i mi yn atgof cryf o fy mhlentyndod (mae fy nhaid yn casglu ac atgyweirio clociau) a hefyd yn symbol o’r byd o’n cwmpas ni heddiw. Roeddwn am i’r gwyliwr i werthfawrogi symlrwydd y munudau sy’n gyrru’r byd hwn yn ei flaen a gofyn pam mae amser yn bwysig i ni heddiw; wrth ynysu pobl o’r ffordd o fyw manig yr ydym i gyd yn byw ynddo heddiw. I ddechrau, roeddwn i eisiau defnyddio cloc gwreiddiol ond yn anffodus ni ellid eu defnyddio yn yr arddangosfa gan ei bod yn rhy fregus. Cefais hyd i gloc arall, casglu gwybodaeth am y modd y byddwn yn ymhelaethu’r cloc a dylunio’r plinth. Roedd y broses yn anodd ar y dechrau ond ar ôl rheoli amser yn ofalus a digon o waith tîm, yr wyf yn credu bod aelodau grwˆp Cylch wedi newid MOSTYN gan lwyddo i ddileu unrhyw ragdybiaethau o ffurfioldeb o fewn oriel mewn ffordd greadigol a heriol.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Josie Le Vay

#mostyncylch

Why have I chosen vinyl records when downloading is the current method of purchasing music? Loving the music industry, I like to keep up to date, but it’s important to embrace history and to understand what came before digital formats. I have chosen albums which I believe have been incredibly influential. I think young music fans today should not only love their favourite artists and be enthusiastic about everything they do, but should also understand what came before them ie. what their influences were. The re-emergence of vinyl is also something I wanted to highlight in my exhibit. To show this I have included Jack White’s ‘Lazaretto’, released in June 2014. Impressively, this LP has had over 60,000 vinyl sales which makes it the best selling vinyl record in 20 years. Pam fy mod wedi dewis recordiau fel testun gan ystyried bod y rhan fwyaf o gerddoriaeth yn cael ei phrynu drwy ei llwytho i lawr oddi ar y we erbyn hyn? Gan fy mod â chryn ddiddordeb yn y diwydiant cerddoriaeth, rwy’n cadw llygad ar bob dim sy’n digwydd, ond rwyf hefyd yn credu ei bod hi’n bwysig cofleidio hanes y diwydiant cerddoriaeth a deall beth oedd y drefn cyn y fformatau digidol. Rwyf wedi dewis albymau gan fy mod yn credu eu bod nhw wedi bod mor ddylanwadol. Yn fy marn i, ynghyd â dilyn eu hoff artistiaid a bod yn frwdfrydig dros bopeth maen nhw’n ei wneud, dylai dilynwyr ifanc cerddoriaeth hefyd ddeall beth oedd o gwmpas cynt, h.y., beth ddylanwadodd arnyn nhw. Mae adfywiad finyl yn rhywbeth arall roeddwn i am ei amlygu yn fy arddangosiad. I ddangos hyn rwyf wedi cynnwys Lazaretto gan Jack White, a gafodd ei ryddhau yng Ngorffennaf 2014. Mae’r LP wedi gwerthu 60,000 finyl sy’n golygu mai dyma’r record finyl sydd wedi gwerthu orau mewn 20 mlynedd.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Hannah Nea y

#mostyncylch

To me, being a feminist is recognising that women should be entitled to the same rights as men and thus given equal opportunities in society. Hopefully my piece will reinforce to viewers the idea that gender discrimination is wrong and is an issue that we shouldn’t ignore. When I discovered that the Cocoa House in Llandudno was where the first Suffragist organisation was established in Wales, I thought that this building could be used as a blank canvas onto which to project ideas – a background , but also a cultural and historical symbol. The piece shows the views of individuals and the audience does not have to agree, just to think about what discrimination means. I asked my mum to contribute a quote to the project, and added it to those of feminist thinkers. I wanted to show that everyone’s opinion counts, and none is more important than the other. I mi, mae bod yn ffeminist yn golygu bod yn rhywun sy’n sylweddoli bod y ffaith eich bod yn ferch yn golygu bod gennych chi hawl i’r un hawliau â dynion ac felly yn cael cyfleoedd cyfartal mewn cymdeithas. Gobeithio y bydd fy narn i yn atgyfnerthu’r syniad bod gwahaniaethu ar sail rhyw yn niweidiol ac yn fater na ddylem ei anwybyddu. Pan wnes i ddarganfod mai yn y Cocoa House y cafodd y sefydliad Swffragwyr cyntaf yng Nghymru ei sefydlu, mi wnes i feddwl y byddai’r adeilad hwn yn gallu bod yn gynfas gwag i mi gyflwyno fy syniadau arno - yn gefndir, ond hefyd yn symbol hanesyddol a diwylliannol. Mae’r darn yn dangos safbwyntiau unigolion a, fel cynulleidfa, does dim rhaid iddyn nhw gytuno, dim ond meddwl am beth mae gwahaniaethu yn ei olygu iddyn nhw. Gofynnais i Mam gyfrannu dyfyniad i’r prosiect, a drwy ei ychwanegu at ddyfyniadau adnabyddus eraill gan feddylwyr ffeministaidd, roeddwn eisiau dangos bod barn pawb yn cyfri, ac nid oes un yn fwy pwysig na’r llall.

15.11.2014 — 01.03.2015

Bethan Nye

Gallery/Oriel 1

mostyn.org

“ Knowledge is experience; everything else is just information. Albert Einstein “

Pe byddwn i’n cael fy anfon i’r gofod i fyw mewn roced am weddill fy mywyd, beth fyddwn i’n mynd gyda mi? Dydy hyn ddim yn gwestiwn sy’n hawdd ei ateb. Bu bron i wythnos o feddwl yn ddwys cyn i’r ateb ddod yn glir. Pe byddwn i’n cael fy anfon i’r gofod i fyw mewn roced am weddill fy mywyd, mi fyddwn i’n mynd â lluniau, cofarwyddion… unrhyw beth a phopeth oedd yn gysylltiedig â’m bywyd a fy atgofion ohono. Rwyf yn credu mai ein hatgofion sy’n ein diffinio, a dyna pam mai atgofion yw’r pethau pwysicaf yn y byd i mi. Yn wreiddiol, roeddwn i eisiau cloc a fyddai’n dangos blynyddoedd yn lle oriau, ond penderfynais ar binfwrdd syml gyda lluniau pawb yn y grwˆp Cylch - rwyf yn gobeithio bydd y cyhoedd yn ychwanegu eu lluniau eu hunain. Tynnwch lun, mae’n para’n hirach.

#mostyncylch

If I were sent into space to live in a rocket for the rest of my life, what would I take with me? Not an easy question to answer. It took nearly a week of brainstorming before a light bulb flashed above my head. If I were sent into space to live in a rocket, I would take pictures, mementos… anything and everything that linked to my life and my memories of it. Memories make us who we are, which is why memories are the most important things in the world to me. Originally, I wanted a clock which would show years instead of hours, but I decided on a simple pin board with pictures of everyone in the Cylch group – I hope that the public will add their own pictures. Take a picture, it lasts longer.

15.11.2014 — 01.03.2015

Gallery/Oriel Gallery/Oriel 1 1

mostyn.org

Cat in Pe y

#mostyncylch

I decided upon the idea of a film that includes young people speaking about their personal memories and objects. I’m fascinated by the development of how we view ourselves and our surroundings, and the changes in the way we think. The idea stemmed from my old diary from 2008, and my other various diaries since then, because they remind me of who I was, who I still am and how I’ve grown as a person. I decided to work with fellow students from Ysgol Y Creuddyn and to film them reading and showing their diaries, pictures, objects and notes, with the help of artist Jan Miller. I then edited this together into a short film to show in Gallery 1. There have been a few bumps in the road but I’m very glad to have this experience under my belt. Penderfynais ar y syniad o ffilm sy’n cynnwys gwahanol bobl yn trafod eu hatgofion a’u heitemau personol. Mae gen i gryn ddiddordeb yn natblygiad sut rydym ni’n gweld ein hunain a beth sydd o’n cwmpas ni, a’r newidiadau yn y ffordd rydym ni’n meddwl. Fy hen ddyddiadur o 2008 ac yna fy amryw ddyddiaduron eraill ers hynny oedd gwreiddyn y syniad, oherwydd eu bod yn fy atgoffa o bwy oeddwn i, pwy ydw i ar hyn o bryd a sut rwyf i wedi aeddfedu. Penderfynais weithio gyda chydddisgyblion yn Ysgol y Creuddyn, ac i’w ffilmio yn darllen ac arddangos eu dyddiaduron, lluniau, gwrthrychau a nodiadau, gyda help yr artist Jan Miller. Yna mi wnes i olygu hyn oll mewn i ffilm fer i’w gael ei dangos yn Oriel 1. Rhoedd rhai problemau wedi codi ond rwyf yn falch iawn fy mod wedi cael y profiad hwn.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

mostyn.org

Pete Slania “ ‘Petaech chi’n gallu bod yn unrhyw un, pwy fyddech chi?’ “

Beth sydd wir yn bwysig i mi ydy’r ffordd rwyf yn edrych ar y byd - mae bywyd bob dydd, arferol, yn fy niflasu. Fel plentyn breuddwydiwn am fod yn bensaer, archeolegydd neu gyfreithiwr, ond wrth i mi dyfu i fyny daeth fy syniadau yn fwy anghyffredin - roeddwn eisiau bod yn ddewin, yn uwch-arwr neu’n fôr-forwyn. Mi wnes i sylwi bod hyn yn hollol i’r gwrthwyneb i’r rhan fwyaf o bobl. Fel arfer, fel plant rydym yn breuddwydio o fod yn rhywbeth hudol, ac wrth dyfu i fyny mae ein cynlluniau yn dod yn llai ac yn llai anghyffredin. Mi wnes i benderfynu arddangos y syniad môrforwyn, oherwydd i mi dyna’r diffiniad o ryddid yng nghanol y môr diddiwedd. Roeddwn eisiau cyfleu’r cyferbyniad rhwng bywyd bob dydd a ffantasi. Dyna pryd feddyliais am y syniad o arddangos fy hun, mewn cynffon môr-forwyn, mewn lle cyhoeddus prysur, a’i ffilmio.

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What really matters to me is the way I look at the world – ordinary, everyday life bores me. As a child, I dreamed of being an architect, archaeologist or lawyer, yet as I grew up my ideas started becoming more fantastical – I wanted to be a wizard, a superhero or a mermaid. I realised this was the exact opposite of most people. Usually, as children, we dream of being something magical, then as we grow up our plans become less extraordinary. I decided to exhibit the mermaid idea, as it feels like the definition of freedom within the endless ocean. I wanted to portray the contrast between everyday life and fantasy. I then came up with the idea of exhibiting myself, in a mermaid tail, in a busy, public place and filming it.

“ If you could be anyone, who would you be? “

15.11.2014 — 01.03.2015

Gallery/Oriel 1

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Lau en Natasha Eastwood-Robe ts

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First I bought a mini skateboard from a car boot sale in North Wales, to represent the masculine half of my project. On a day out in Southport, I found some Pleaser shoes with a money slot to represent the feminine half, but I didn’t buy them there. I got them later from a charity shop. When I was tidying my room, I put the shoes on top of the skateboard and got the idea to combine the two for the exhibition. I had subconsciously combined what is considered masculine and feminine, as I do with my clothing and personality on a daily basis. I began to research skateboarders who could represent the archetype and wondered if it would be possible to get Tony Hawk involved. He kindly shipped over from New York a signed original Tony Hawk skateboard. I’ve now started skateboarding as a result of this project. I ddechrau prynais fwrdd sgrialu mewn arwerthiant cist car yng Ngogledd Cymru, i gynrychioli rhan wrywaidd fy mhrosiect. Ar ddiwrnod allan yn Southport, mi wnes i ddod o hyd i esgidiau Pleaser gyda slot arian i gynrychioli’r rhan fenywaidd, ond wnes i ddim eu prynu nhw yno. Mi wnes i eu prynu yn hwyrach ymlaen mewn siop elusen. Pan oeddwn i’n tacluso fy ystafell, roddais yr esgidiau ar ben y bwrdd sgrialu a chael y syniad o gyfuno’r ddau ar gyfer fy arddangosfa. Roeddwn i wedi cyfuno beth sy’n cael eu hystyried yn wrywaidd a benywaidd yn isymwybodol, fel rwyf yn ei wneud gyda fy nillad a fy mhersonoliaeth bob dydd. Dechreuais ymchwilio sgrialwyr a fyddai’n medru cynrychioli’r gynddelw ac mi wnes i feddwl a fyddai hi’n bosib cynnwys Tony Hawk. Yn garedig iawn, mi wnaeth o anfon bwrdd sgrialu gwreiddiol Tony Hawk o New York, wedi’i lofnodi. Rwyf wedi dechrau sgrialu o ganlyniad i’r prosiect hwn.

15.11.2014 — 01.03.2015

Gallery/Oriel 1

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Cybnabyddiaethau / Acknowledgements

Cynhyrchwyd y cyhoeddiad hwn i gyd-fynd a’r arddangosfa / This publication has been produced to accompany the exhibition: ORIEL / GALLERY 1

Curadwyd gan/Curated by: aelodau Cylch/Circuit members: Lucy Browning Jess Cripps William Dean Callum Doherty Sarah Edwards Thomas Evans Carwyn Jones Alaw Ogwen Jones Josie Le Vay Hannah Neary Bethan Nye Catrin Perry Lauren Natasha – Eastwood-Roberts Peter Slania

Prawf darllen / Proofreading: Jane Matthews Cyfieithu / Translation: Cymen Dylunio / Design: Elfen.co.uk Ffotograffiaeth porteuad papur wal / Wallpaper portrait photography: Jan Miller Pob llyn gwrthrych / All object images: Richard Cynan Jones

Hefo/With: Adam Carr, Curadur Rhaglen Celfyddydau Gweledol / Visual Arts Programme Curator, MOSTYN; Tomos Jones, Cydlynydd Prosiect Cylch / Cylch Project Coordinator, Georgia Colman Cynorthwywr Prosiect Cylch / Cylch Project Assistant; and Bedwyr Williams. Cefnogaeth ychwanegol gan Jan Miller a staff MOSTYN / Additional support from Jan Miller and MOSTYN staff.

MOSTYN Cymru — Wales 12, Stryd Vaughan Street Llandudno, LL30 1AB Y Deyrnas Unedig United Kingdom www.mostyn.org

Hoffem ddiolch i’r rhai sydd wedi helpu i wireddu’r arddangosfa hon /  We would like to thank those who have helped in the realisation of this exhibition: Ian Cross of “Clockwise”; Ann and Derek Hobson, the Cocoa House; Fender; Grant Fox; Lisa Marie Gina; Tony Hawk; Keith Jones; Ysgol Y Creuddyn; Ysgol John Bright; Sarah Hall; SARAH HALL PRODUCTIONS, INC.

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Mae Cylch/Circuit yn rhaglen genedlaethol pedwar blynedd yn cysylltu pobl 15-25 i’r celfyddydau mewn orielau ac amgueddfeydd yn bartneriaeth hefo’r sector ieuenctid a ddiwylliannol / Cylch/Circuit is a four year national programme connecting 15-25 year olds to the arts in galleries and museums working in partnership with the youth and cultural sector.

Ni chaniateir atgynhyrchu unrhyw ran o’r cyhoeddiad hwn yn gyfan nac yn rhannol mewn unrhyw ffurf heb ganiatâd ysgrifenedig ymlaen llaw gan y cyhoeddwyr. No part of this publication may be reproduced or transmitted in whole or in part in any form without prior permission in writing from the publishers.

Mae MOSTYN yn derbyn cymorth ariannol gan Gyngor Celfyddydau Cymru a Gwasanaeth Celfyddydau Cyngor Bwrdeistref Sirol Conwy ac yn rhan o rwydwaith orielau Plus TATE. MOSTYN receives financial support from the Arts Council of Wales and Conwy County Borough Council Arts Services and is part of the Plus TATE network of galleries.

15.11.2014 â&#x20AC;&#x201D; 01.03.2015

Gallery/Oriel 1