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Gerard Dillon RHA, RUA 1916 -1971 Comóradh an Chéid
Dánlann Dillon Déardaoin 24ú Márta Dé Céadaoin 4ú Bealtaine Thursday 24th March Wednesday 4th May Dillon Gallery
Gerard Dillon RHA, RUA 1916 -1971 Centenary Exhibition
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Gerard Dillon RHA, RUA 1916-1971
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B
G
erard Dillon’s paintings of Belfast gained him entrance in 1943 to the Dublin art establishment. After seeing Sean Keating’s illustrations for Synge’s The Playboy of the Western World and making sketching trips to the west of Ireland, he was soon producing more rural scenes.
a iad saothair Gerard Dillon faoina chathair dhúchais, Béal Feirste, a chinntigh go mbeadh fáilte roimh an ealaíontóir thuaisceartach i measc aos ealaíne Bhaile Átha Cliath i 1943. Tar éis dó léaráidí Seán Keating do The Playboy of the Western World le JM Synge a fheiceáil agus cuairteanna a thabhairt ar iarthar na hÉireann chun sceitsí a dhéanamh, ba ghairid go raibh sé ag saothrú radhairc a bhí bunaithe ar an saol faoin tuath.
Potato Pickers is an early attempt by Dillon at a traditional genre popular in Europe since the Middle Ages. The two figures take up the whole of the foreground and look as if drawn from posed models in the studio. The subject is not idealized; the girls look cold and miserable, young and vulnerable. There is no seductive Van Gogh landscape, only sea gulls wheeling above potato sacks protruding from the brown soil. Dillon has not quite mastered modernist techniques here and his difficulty with drawing and painting representationally are evident.
Iarracht é Potato Pickers ag Dillon ar sheánra traidisiúnta a bhí coitianta san Eoraip ó na Meánaoiseanna. Níl sa tulra ach an bheirt phearsan agus an chuma orthu gur dhá mhainicín faoi staidiúir i stiúideo is bun leo. Níl cuma an idéil ar an ábhar – is cosúil go bhfuil na cailíní fuar agus truacánta, óg agus leochaileach. Níl aon tírdhreach tarraingteach ann mar a shamhlófá le Van Gogh – níl ann ach faoileáin ag eitilt agus málaí prátaí ag gobadh amach ón ithir dhonn. Ní léir anseo go bhfuil máistreacht ag Dillon ar theicnící nua-aoiseacha agus is léir na deacrachtaí atá aige agus é i mbun péintéireacht mhacasamhlach. Tá go leor le foghlaim ó na difríochtaí atá le sonrú idir Potato Pickers agus a shaothar níos déanaí, Aran Islanders in their Sunday Best. Is léir gur ón traidisiún chéanna iad, seánra na cosmhuintire, ach anois tá cuma láidir, bheathaithe, chlasaiceach fiú ar na figiúirí, amhail gur siombailí den stát nua iad. Tá éadaí traidisiúnta dathannacha lámhdhéanta á gcaitheamh acu.
The differences between Dillon’s Potato Pickers and his later painting, Aran Islanders in their Sunday Best are instructive. Although in the same tradition of peasant genre, the figures are strong, well-fed, monumental and, in the context of the landscape, seen as emblematic of the new state. They wear traditional, colourful home-made clothing. They are upright and not at work or involved in traditional pastimes. The draughtsmanship has improved enormously and a single view point perspective is used. When art critic James White described this painting
1. Potato Pickers 1940, oil on canvas, 44 x 59 cms. O’Malley Collection, University of Limerick
2. Aran Islanders in their Sunday Best, oil on canvas, 57 x 77.5 cms. Private Collection
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as stage-Irish but charming, Dillon was pitched headlong into the battle between the old and the new in Dublin; stage-Irishness being the accusation levelled at Modernist painters by Academy president Keating. Dillon worked hard to please both camps.Trips to Italy and Spain and to the Boyne Valley helped loosen up his style as can be seen in the decorative unity of The Confessional. The three figures are consumed within the flatness of the overall patterns and abstracted blocks of colour. The decoration of the wire mesh partition is emphasised at the expense of perspective while the subject repeats a story from his Belfast upbringing.
Tá siad ina seasamh agus níl siad ag obair ná ag gabháil do chaithimh aimsire thraidisiúnta. Tá feabhas mór sa línitheoireacht le sonrú agus is léir gur aon pheirspictíocht amháin atá in úsáid aige. Nuair a mhaígh an léirmheastóir ealaíne James White gur thaitin an saothar leis in ainneoin go raibh sé ‘bréag-Éireannach’, greamaíodh Dillon láithreach sa choimhlint idir an sean agus an nua i mBaile Átha Cliath. Dar le Seán Keating, Uachtarán Acadamh Ríoga na hÉireann, bhí blas an bhréagÉireannachais ag baint le saothar na n-ealaíontóirí nua-aoiseacha. Shaothraigh Dillon go dian chun an dá thrá a fhreastal. Thug sé turais ar an Iodáil, an Spáinn agus chuig Gleann na Bóinne a chuidigh lena stíl agus tá seo le sonrú in aontas maisitheach The Confessional. Tá na trí phearsa sa saothar báite faoi chothroime na bpatrún ina n-iomláine agus faoi na bloic dhatha. Tá béim ar mhaisiú an líontáin sreinge idir an sagart agus lucht na faoistine agus is é an pheirspictíocht atá thíos leis seo. Insíonn an saothar seo scéal ó thógáil Bhéal Feirsteach an ealaíontóra.
When art dealer Victor Waddington organised a travelling exhibition of Irish painters in America in 1950 that included works by Dillon, he learnt that there was a market in America for paintings of Irish life. In 1951 Waddington, enabled Dillon with a stipend to live on Inishlackan, an island near Roundstone in County Galway and for a while urbanite Dillon lived in the tradition of Millet, Pissarro and Van Gogh as a painter among subsistance farmers where the resulting social changes between rural and urban life attracted artists. The small farm rural economy was in decline especially in the west of Ireland with approximately half a million people leaving the Irish Republic in the 1950s to find employment in English cities. The population of Inishlackan dropped from 132 in 1901 to 27 in 1951.
Nuair a d’eagraigh an déilealaí saothar ealaíne Victor Waddington taispeántas taistil d’ealaíontóirí Éireannacha i Meiriceá i 1950, a raibh saothair le Dillon san áireamh ann, cuireadh ar a shúile dó go raibh suim ag muintir SAM i saothair a léirigh an saol in Éirinn. I 1951, thug Waddington airgead do Dillon a chuir ar a chumas cur faoi ar Inis Leacan, oileán gar do Chloch na Rón i gContae na Gaillimhe. Ar feadh seala,
3. The Confessional, oil on canvas, 69.5 x 100 cms. Private Collection. Exhibited in IELA 1950.
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chaith an cathróir Dillon a shaol mar ealaíontóir i measc na bhfeirmeoirí beaga agus é ag tabhairt faoi deara ina shaothar na hathruithe idir an saol faoin tuath agus saol na cathrach/an bhaile mhóir. Ar ndóigh, bhí sé ag leanúint traidisiún fadbhunaithe i measc ealaíontóirí – leithéidí Millet, Pissaro agus Van Gogh. Ag an am sin, bhí an geilleagar faoin tuath ag meath – go háirithe in iarthar na hÉireann – agus d’fhág isteach is amach le leathmhilliún duine na 26 Contae sna 1950idí chun fostaíocht a lorg i Sasana. Thit daonra Inis Leacan ó 132 i 1901 go 27 i 1951.
Dillon also produced work to hang in public galleries intended to show that Irish landscape painting could be done in many different ways. In Island Tapestry we can see lots of small fields enclosed by stone, each with its own picture of work and play on the island, similar to the sections of an Irish stone High Cross. A mixture of perspectives shows the island tipped up in the sea with the viewer looking from above as if at a map with the sea and boats all around the edges but with the mountains in the distance the right way up. In this bird’s eye view, each compartment is laid out decoratively in colours untied to association.. This lay-out became one of Dillon’s best known devices.
Thug saothair Dillon a bhí ar taispeáint i ndánlanna poiblí le tuiscint gur shíl sé go bhféadfaí tabhairt faoin phéinteáil tírdhreach i mbealaí éagsúla. In Island Tapestry feicimid go leor goirt bheaga a bhfuil ballaí cloch thart orthu, gach gort acu ag léiriú a phictiúir féin den obair agus den spraoi ar an oileán. Tá seo cosúil leis na míreanna éagsúla ar Ardchros chloiche Éireannach. Tá éagsúlacht peirspictíochtaí ann a léiríonn an t-oileán mar a bheadh sé claonta siar san fharraige agus an t-ealaíntóir ag féachaint síos air mar a bheadh sé ag amharc ar léarscáil agus báid ar bharr na farraige thart timpeall ar an imeall uilig. Ag an am chéanna, tá na sléibhte le feiceáil ina seasamh mar is ceart i bhfad uainn. Seo é léargas an éin agus tá gach seomra nó gort, más maith leat, leagtha amach go maisiúil is go dathúil. Seo ceann de na cleasa is mó a luaitear maidir le saothar Dillon.
In Dillon’s Self-Portrait with Cigarette we see the interplay between his urban life in London and Belfast and his rural subject matter in Connemara. He has painted himself facing straight out of the frame with his eyes looking slightly off centre, similiar to Van Gogh’s Self-Portrait with Bandaged Ear (1889). Both works have a painting in the background of a utopian place of escape: Inishlackan for Dillon and the Japanese wood print scene for Van Gogh. Dillon presents his unmultilated right ear to the viewer while Van Gogh presents his bandaged right ear but the striking white patch of the harbour wall behind Dillon’s left ear could be taken as a reference to a bandage. Like Van Gogh, Dillon is wearing contemporary clothing in contrast to Keating who like to dress in the home-spun clothes of the islanders.
Tá an t-idirphlé idir a shaol cathrach i Londain agus i mBéal Feirste agus a ábhar ealaíne tuaithe i gConamara le tabhairt faoi deara in Self-Portrait
5. Self Portrait with Cigarette, oil on canvas, 61 x 46.5 cms. Private Collection
4. Island Tapestry, oil on canvas, 49 x 74 cms. Department of Agriculture, Food and the Marine. Exhibited in IELA 1953.
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with Cigarette. Tá sé féin léirithe agus é ag amharc go díreach amach ón fhráma, na súile beagáinín ar fiar, cosúil le Self-Portrait with Bandaged Ear (1889) de chuid Van Gogh. Tá pictiúr d’áit idéalach éalaithe i gcúlra an dá shaothar - Inis Leacan ag Dillon, an prionta adhmaid Seapánach ag Van Gogh. Tá cluas dheas neamh-chiorraithe Dillon le feiceáil ach tá bindealán ar chluas dheas Van Gogh. D’fhéadfaí a mhaíomh, mar sin féin, gur tagairt do bhindealán atá sa phaiste bhán ar bhalla an chuain taobh thiar de chluas chlé Dillon. Ar nós Van Gogh, tá Dillon ag caitheamh éadaí comhaimseartha – cé go mbíodh Keating ag caitheamh éadaí lámhdhéanta na n-oileánach. Tá an láimhseáil a dhéantar ar na héadaí mar an gcéanna sa dá shaothar – imlínte simplí ag cuaradh timpeall chabaí na gcótaí i dtreo na gcnaipí móra. Tá an bheirt ealaíontóirí ina suí go comhthreomhar le plána an phictiúir agus dathanna cosúla in úsáid acu. Tá toitín lasta idir méara Dillon mar mhagadh de shórt ar an ghnáth-fhéinphortráid ag ealaíontóirí ina mbíonn scuaba agus pailéad ina lámha acu, ach má tá greann sna gothaí, tá dáiríreacht le sonrú sna súile aige. Tá an tírdhreach ar chúl Dillon de réir an ghnáthpheirspictíocht a mbeifeá ag súil léi ach tá peirspictíocht éagsúil ag an bhord seicear sa tulra, rud a léiríonn idirdhealú soiléir idir saothar Dillon agus an saothar ar chúl.
The treatment of the clothes is similar in both paintings with simplified outlines curving around the coat collars towards the large buttons. Both artists are seated parallel to the picture plane and similar colours are used. Dillon holds a burning cigarette in parody of the traditional artist self-portrait holding brushes and palette and the intended humour is off set by the seriousness of the gaze. The painted landscape behind Dillon has conventional perspective but the chequered board in the foreground has a different perspective making a clear distinction between Dillon’s painting and the painting behind. Moon Over Bog is an example of the type of landscape work that Dillon championed, and is a frequently reworked theme. It illustrates his child-like ability to capture the feeling or memory of a scene, regardless of draughtsmanship. A large moon with a human face hangs over two young lovers in the vast cosmic stillness of a bog. The blue starry sky reflected in the bog hole, is underpined by a unifying yellow umber that mixes to produce various greens opposed to the dusky pinks of the girl’s dress. The paint is thick with outlines often made with the end of the brush handle. The stars echo the title of Van Gogh’s Starry Night (1889). The ladder propped crazily against the turfstack points at the moon linking the sky and earth like Van Gogh’s cypress tree. The combined effect is a charming decorativeness.
Sampla é Moon Over Bog den chineál saothar tírdhreach a raibh Dillon ina cheannródaí ann, agus is téama é ar fhill an t-ealaíontóir air arís agus arís eile. Léiríonn sé an cumas a bhí ann, cumas an pháiste, más maith
6. Moon Over Bog, Oil on board, 46 x 61 cms. Private Collection
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leat, greim a bhreith ar mhothú nó ar chuimhne ar radharc, beag beann ar an línitheoireacht. Tá gealach mhór agus aghaidh dhaonna uirthi ar crochadh os cionn lánúin óg agus iad sínte faoi mhórchiúnas cosmach portaigh. Tá scáth na spéire goirme réaltaí sin le feiceáil sa pholl portaigh agus dathanna ar nós an bhuí chróin ag meascadh leis chun scáthanna éagsúla glasa a chruthú atá i gcodarsnacht le scáthanna bándearga dorcha ghúna an chailín. Tá lorg lámh na scuaibe le sonrú sna himlínte atá le feiceáil go soiléir sa phéint. Tugann na réaltaí saothar Van Gogh, Starry Night (1889), chun cuimhne. Má tá cuma aisteach ar an dréimire atá ag luí ar an chruach mhóna, nascann sé an spéir agus an talamh mar a dhéanann crann cufróige Van Gogh. Maisiúlacht mhealltach an toradh ar an éifeacht seo ina hiomláine.
Dillon knew that such romanticism existed alongside the reality of emigration and perhaps that is what the young man is thinking about in The Dreamer. Engrossed in thought, he is seated at a table in the tradition of Cézanne’s Card Players (1890-95). The painting of his contemporary clothing is finely balanced against the abstraction of the graduated planes of colour in the background. The monumental gravity is reminiscent of Cézanne’s peasant paintings that were an inspiration to Picasso, Matisse and Léger. The lamp could be seen as a reference to Keating’s oil lamp held up to the stage Irishman in his painting Night’s Candles are Burnt Out (1929). The oil lamp indicates that there is no electricity and the young man can only dream of modernity. The Rural Electrification scheme gradually brought power to the countryside in the 1950s but the inhabited islands were not fully connected till 2003. The furniture is plain, home made. The empty chair turned away from the table suggests another presence surveying the scene. Shortly after this, Dillon began producing completely abstract works.
Thuig Dillon gur mhair a leithéid de rómánsaíocht taobh ar thaobh le réaltacht na himirice agus, b’fhéidir, gurb é sin an rud a bhfuil an fear óg ag meabhrú faoi in The Dreamer. Tá sé ina shuí ag bord agus é i mbun domhainmhachnaimh, agus macalla Card Players (1890-95) Cézanne le brath. Tá a chuid éadaigh chomhaimseartha i gcothromaíocht fhíneálta le teibíocht na bplánaí éagsúla datha sa chúlra. Cuimhníonn an dáiríreacht thromchúiseach dúinn pictiúir Cézanne den chosmhuintir, saothair a spreag Picasso, Matisse agus Léger. D’fhéadfaí a rá go dtagraíonn an lampa don lampa ola atá ag soilsiú an bhréag-Éireannaigh i saothar Keating - Night’s Candles are Burnt Out (1929). Tugann an lampa le fios, freisin, nach raibh cumhacht leictreachais ann ag an am
Dillon and Noreen Rice used objects they found in an East London dump to begin making collages which helped Dillon’s move towards abstraction. In A Bird’s World we can see part of the swordfish sword mentioned by Rice to James White that Dillon found in a dustbin, used together with sacking to create some of
7. The Dreamer, oil on canvas, 127 x 190 cms. (framed) Mrs Margaret Mooney. Exhibited in IELA 1956.
8. A Bird’s World, collage on board, 91.5 x 122 cms. Private Collection
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Dillon’s favourite symbols: bird, fish, moon/sun, then painted one colour to emphasis the shapes in relief. Hypnotic Mask, a three dimensional collage, also resulted from Dillon’s experiments in abstraction. Here he reduces the pierrot’s head and mask to a simplified shape with three dimensions and colour free from association. The eyes contain symbols.
agus nach féidir leis an fhear óg ach bheith ag brionglóideach faoin nuaaoiseachas. Scéim Leictriú na Tuaithe a thug an aibhléis don tír ar fad de réir a chéile sna 1950idí ach ní raibh na hoileáin a raibh daoine ina gcónaí orthu ceangailte go hiomlán leis an chóras go dtí 2003. Ní go rófhada ina dhiaidh sin a thosaigh Dillon ag obair ar shaothair a bhí iomlán teibí. Bhain Dillon agus Noreen Rice úsáid as rudaí a d’aimsigh siad i ndumpa in oirthear Londan chun colláisí a dhéanamh, rud a chuidigh le turas Dillon i dtreo na teibíochta. In A Bird’s World, feicimid cuid de ‘chlaíomh’ an cholgáin a fuair Dillon i mbosca bruscair, mar a luaigh Noreen Rice le James White. Úsáideadh é in éineacht le sacéadach chun roinnt de na siombailí is mó a thaitin le Dillon a chruthú: éan, iasc, gealach/grian. Ansin, chun béim a chur ar na cruthanna, péinteáladh iad le dath amháin. Is colláis thríthoiseach é Hypnotic Mask, toradh eile ar thrialacha Dillon sa teibíocht. Anseo, laghdaíonn sé ceann an fhir ghrinn/pierrot go dtí nach bhfuil ann ach cruth simplí tríthoiseach agus dath saor ó aon cheangal. Tá siombailí le tabhairt faoi deara sna súile. Sheas an Pierrot seo mar alter ego an ealaíontóra choimhthithe sa 19ú haois agus i mblianta luatha an 20ú haois. Bhain Dillon úsáid as chomh luath le 1942. Tar éis bhás a dheartháireacha, rinne sé é a fhorbairt go raibh sé ina ghléas suntasach aige. Thaitin fear grinn an tsorcais freisin le Dillon agus a chairde sa phobal ealaíne cois cuain. B’fhéidir go bhfuil macalla fhocail Ophelia in Hamlet, nó The Waste Land le TS Eliot, le sonrú
The Pierrot became the alter-ego of the alienated artist in the 19th and early 20th century. Dillon used it as early as 1942 and, after the deaths of his brothers, developed it into a major device. The circus clown appealed also to Dillon and his artist friends in Belfast. The title Sweet Ladies and Gentlemen may refer to Ophelia’s lines from Hamlet and T. S. Eliot’s The Waste Land. The Janus head of the Roman god of beginnings, gates and transitions presiding over the beginning and end of conflict could be seen in wallpaper hand printed by Dillon in his family house in Belfast. In the painting Two Pierrots, one masked pierrot in traditional white costume leads another masked figure, wearing a grey fox stole and striped top, by the hand through a city. Dillon’s favourite symbols, a bird and a fish, are to be seen, one in each mask. The fox could be seen as a reference to Gauguin’s Loss of Virginity (1890-91). Two pierrots are seen again in The Haystack, one standing, one seated as though in conversation, beside a haystack
9. Hypnotic Mask, collage, 74 x 80 cms. Private Collection. Exhibited in IELA in 1965.
10. Sweet Ladies and Gentlemen, oil on canvas, 91 x 61 cms. OPW State Art Collection.
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in a field of cut grass. Dillon’s fluency now allows him to play with techniques and still retain ownership of his signature themes. The figures and haystack have rough edges like torn paper collage and the haystack and background are patterned with a comb drawn through the paint.
sa teideal seo: Sweet Ladies and Gentlemen. An dia Rómhánach Janus, dia na dtús, na ngeataí agus na n-athruithe, atá i gceannas ar thús agus ar dheireadh coimhlinte, bhí a chloigeann siúd (cloigeann a amharcann chun tosaigh agus siar ag an am amháin) le feiceáil ar pháipéar balla a rinne Dillon a lámhphriontáil ina theach teaghlaigh i mBéal Feirste. Sa saothar Two Pierrots, tá fear grinn a bhfuil aghaidh fidil air, agus é faoi éide bhán thraidisiúnta ag treorú de láimh tríd an chathair pearsa eile atá ag caitheamh maisc fosta mar aon le stoil sionnaigh liath agus barr stríocach. Tá na siombailí is ansa le Dillon – éan agus iasc – le feiceáil sa dá aghaidh fidil. Tá an dá pierrot le feiceáil arís in The Haystack, pierrot amháin ina sheasamh, ceann eile ina shuí, mar a bheadh siad ag comhrá, in aice le coca tuí i bpáirc fhéar lomtha. Tá líofacht ealaíne Dillon anois ag ligean dó bheith ag spraoi le teicnící chomh maith le seilbh a choinneáil go fóill ar a chuid téamaí aitheantais. Tá imill gharbha ar na figiúirí agus ar an choca tuí mar a bheadh colláis de pháipéar stróicthe ann agus tarraingíodh cíor tríd an phéint leis an phatrún atá le sonrú ar an choca tuí agus ar chúlra an phictiúir a dhéanamh.
This small but interesting collection of Dillon’s work shows how he tried to please both the academicians and modernists by moving towards abstraction while always working to improve his craftsmanship. Dr. Mary Cosgrove
Is bailiúchán beag suimiúil de shaothar Dillon atá ar taispeáint anseo. Léiríonn sé an iarracht a rinne sé chun freastal a dhéanamh ar an lucht acadúil agus ar lucht na nua-aoise araon, nó tá an bogadh i dtreo na teibíochta le mothú go follasach, mar aon leis an dua a chaith sé le barr feabhais a chur ar a cheird. Dr. Mary Cosgrove
12. The Haystack, 20 x 34 cms. Private Collection
11. Two Pierrots, oil on canvas, 38 x 54 cms. Private Collection
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CLÁR SAOTHAR / LIST OF WORKS
1. Potato Pickers 1940, ola ar chanbhás / oil on canvas, 44 x 59 cms. Bailiúchán Uí Mháille, Ollscoil Luimnigh / O’Malley Collection, Limerick University 2. Aran Islanders in their Sunday Best, ola ar chanbhás / oil on canvas, 57 x 77.5 cms. Bailiúchan príobháideach / Private collection 3. The Confessional, ola ar chanbhás / oil on canvas, 69.5 x 100 cms. Bailiúchán príobháideach / Private collection. Arna thaispeáint in IELA 1950 / Exhibited in IELA 1950. 4. Island Tapestry, ola ar chanbhás / oil on canvas, 49 x 74 cms. An Roinn Talmhaíochta, Bia agus Mara / The Department of Agriculture, Food and the Marine. Arna thaispeáint in IELA 1953 / Exhibited in IELA 1953. 5. Self Portrait with Cigarette, ola ar chanbhás / oil on canvas, 61 x 46.5 cms. Bailiúchán príobháideach / Private collection 6. Moon Over Bog, ola ar chlár / oil on board, 46 x 61 cms. Bailiúchán príobháideach / Private collection 7. The Dreamer, ola ar chanbhás / oil on canvas, 127 x 190 cms. (frámáilte / framed) Mrs Margaret Mooney. Arna thaispeáint in IELA 1956 / Exhibited in IELA 1956. 8. A Bird’s World, colláis ar chlár / collage on board, 91.5 x 122 cms. Bailiúchán príobháideach / Private collection 9. Hypnotic Mask, colláis, 74 x 80 cms. Bailiúchán príobháideach / Private collection. Arna thaispeáint in IELA 1965 / Exhibited in IELA 1965. 10. Sweet Ladies and Gentlemen, ola ar chanbhás / oil on canvas, 91 x 61 cms. Bailiúchán Ealaíne an Stáit, Oifig na nOibreacha Poiblí / OPW State Art Collection. 11. Two Pierrots, ola ar chanbhás / oil on canvas, 38 x 54 cms. Bailiúchán príobháideach / Private collection 12. The Haystack, 20 x 34 cms. Bailiúchán príobháideach / Private collection
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Teagmháil/Contact: 028 90 964180 www.culturlann.ie 216 Bóthar na bhFal, Béal Feirste, BT12 6AH 216 Falls Road, Belfast, BT12 6AH