From Adams to Zobole
Fifty years of Llantarnam Grange Arts Centre
From Adams to Zobole Fifty years of Llantarnam Grange Arts Centre
A Llantarnam Grange Arts Centre Exhibition 2016
The first exhibition at LGAC in 1966
Foreword A debt of gratitude is owed to the
down, there was the question of what
visionaries who in the early 1960’s took
do you do with a Victorian gentlemen’s
the bold decision to save Llantarnam
residence built on 12th century monastic
Grange from the ball and chain. With the
foundations.
blue prints for the New Town in place and the builders in full swing creating Wales
The answer, create a cultural hub, an oasis,
only “New Town”, the end seemed in sight.
a place of reflection in the middle of a
Having survived a reformation, civil war,
bustling, modern New Town.
two global conflicts, numerous political changes and upheavals, was the drive
On the 30th April 1966, Leo Abse MP
towards a modernist utopia destined to see
officially opened the Centre. I think Leo
the building raised to the ground. It took a
and all those involved in its founding
small group of enlightened individuals to
would be pleased with how the last half a
take the radical decision NOT to demolish
century has turned out. We are a member
one of the area’s oldest buildings. Once
of the Arts Council of Wales Revenue
the decision was taken not to pull it
Portfolio, whose aim is to play a significant
role in presentation, engagement and
Over the last five decades we have shown
development of contemporary visual
hundreds or artists and thousands of
art practise. Since that day in April 50
pieces of art work, from the internationally
years ago we have seen our audiences
famous whose work is held in national
grow and develop. 60,000 people a year
collections to those at the very beginnings
come through the front door. Over the
of their career. We aim to present the best
last 20 years nearly 150,000 people have
work being made in Wales and bring
taken part in our learning programme.
to Wales some of the most important
Tens of thousands have seen our touring
and interesting work being produced
exhibitions in venues the length and
nationally and internationally. To deliver a
breadth of the country. LGAC has sent
programme of education / participation /
artists work around the world to France,
engagement activities that is relevant to
Eastern Europe, the USA and India. While
the lives of our communities. Our vision is
in recent years an international audience
to promote and advance the appreciation,
has been engaging with our work digitally
understanding and education of the arts
and on line.
and culture to benefit the lives of our
communities. There was the belief from
been a small team and all the staff have
the very first day the Centre opened that
gone beyond the call of duty and travelled
engagement and learning lie at the heart
that extra mile to make sure that we excel
of the Arts Centre’s ethos. I would like
at delivering our creative programmes.
to say a big thank you to all the pupils and students who have come to our
Llantarnam Grange Arts Centre is much
workshops and courses, the tutors who
more than bricks and mortar, it is people
led those sessions and the volunteers
who have made things happen and made
who have given up their time and energy
it what it is. We are eternally indebted to
because they believe in what we stand
artists and makers who have allowed us
for. The centre as a charity is governed by
to present their work, without them we
a Board of Trustees, I would like to thank
would have nothing but empty soulless
all the current and past board members
rooms.
and Chairs who are unpaid and give their expertise to make things happen.
Hywel Pontin,
Llantarnam Grange Arts Centre has always
March 2016
Director Llantarnam Grange Arts Centre ,
A brief History of Llantarnam Grange 1952 - 2016 Although the building of Llantarnam
In the following year, 1952, Llantarnam
Grange can be traced back to being a
Grange was conveyed by Private Treaty
12th century monastic farm for the nearby
to Cwmbran Development Corporation
Llantarnam Abbey its modern history
(CDC) for £3,900. CDC was created by
begins with the death in 1951 of its last
Royal Charter as part of the post war “New
resident William Jones, former Managing
Town’s Act” and was the body responsible
Director of the Avondale Tinplate Works.
for building Wales’ only new town. In September, 1953, it was let to the General Post Office.
The GPO were
interested in using the old billiard room (now our main gallery) as a postal sorting office, while the upstairs rooms were to be used as flats. Its grounds, garden and cottage which still adjoined the house at that time, remained in the possession of William Jones last private resident of Llantarnam Grange
Room).
the CDC.
In October, 1960, the County
Council made enquiries into buying the In 1955 the outer buildings were
property for civil defence purposes but it
demolished
was still under lease to Girlings.
in
preparation
for
the
construction work of building the new Town Centre. Glyndwr Road runs straight
By 1962 Girlings had made it clear
through the area where the stable
they wished to remain in occupation
buildings had been and the Bus Station
indefinitely, but CDC wanted to demolish
lies over parts of the garden and orchard.
the property and redevelop the site as a public park.
The GPO left in May, 1958, and Girlings (a car component firm with a factory opposite
Only a short time before the proposed
Llantarnam Grange) took up the lease
demolition the General Manger of CDC
using the building as its drawing office
suggested that the New Town Centre
and put an opening between bedrooms
would soon need a place for societies,
1 and 2 (now the Education Workshop
clubs and associations to meet; 窶連t this
stage in the growth of the Town Centre,
In February and March, 1965, meetings
there are no existing premises there for
were held between Corporation members,
general community use’.
County Councillors and potential users to discuss the proposals and to form a
The Grange’s location near the bus
steering committee. It was agreed that a
station made it ideal, and a new building
committee be set up to run the Grange and
would cost three or four times as much
that the local councils, The Arts Council
as renovation. It was suggested by CDC
of Great Britain and the Gulbenkian
at a meeting on 22nd May, 1964 that a
Foundation were to be approached for
caretaker would run it and live on site
money towards capital and running
rent free. Adaptation would include four
costs.
rooms of various sizes to let, an Exhibition and Entrance Hall, a kitchen, scullery,
The Steering Committee also drew CDC’s
coffee room and new toilets. A grant of
attention to the need for an art gallery in
£12,000 was given by the CDC to carry out
the area, as well as a venue for community
the necessary work.
use. It was agreed that, with the exception
of Newport Museum and Art Gallery,
the building.
facilities for art exhibitions were very poor and that an exhibition hall at the Grange
There was much debate over what to call
would encourage full day-time use.
the new centre; as the building was not in Llantarnam and ‘the Grange’ was usually
Ann Landers was employed by the
used to refer to Llanfrechfa Grange
Corporation as an Assistant Community
Hospital both these words were deemed
Development Officer and accepted the
unsuitable. It was also thought words like
role of secretary to the Management
‘community’ and ‘centre’ did not cover the
Committee with responsibility for the
intended general social function of the
running of the Grange. The development
building.
of the programme became a full time commitment. Ann Landers remained
‘Hub’, ‘Focus’, ‘Compass’, ‘Fulcrum’, even
an employee of the CDC and so the
the Anglo-Saxon ‘Moot House’ were
Management Committee did not have to
suggested. In October, 1965, the New
find her wages or pay for the up-keep of
Town Advertiser even ran a competition
with a prize of £2 to suggest a name for
formally opened by Leo Abse M.P.
the centre. Ironically Llantarnam Grange Societies Club was the name eventually
The local press welcomed the centre as
chosen.
a remarkable development. In the South Wales Argus, 5th May 1966 ‘It needs no
In 1966 The Arts Council gave a grant of
visionary to see that the potentialities of
£450 towards the equipping of the art
the centre are enormous. Ideally it should
gallery, including lighting and hanging
do a great deal to inject some life into
rails.
what is, at present, quite understandably,
It was decided that the official
opening should coincide with the opening
a rather soulless town.’
of the Arts Council exhibition: Two Artists; This
The Grange became a permanent home for
exhibition, showing the work of two well-
the Pontypool & Eastern Valley Art Society
known artists based locally was welcomed
(who were responsible for hanging and
as an appropriate opening event.
On
stewarding the exhibitions) and Cwmbran
30th April, 1966, Llantarnam Grange was
Theatre Club, as well as Cwmbran Forum,
John Wright and Tom Rathmell.
Cwmbran
around fifteen exhibitions per year, each
Chamber of Trade. It was also agreed
running for two weeks. The programme
that a ‘pool’ of local pensioners should be
showed a desire to be inclusive through
formed who would be prepared to help
hosting exhibitions from local schools
steward the exhibitions. One shilling was
and art societies; to presenting the work
agreed as the entrance fee for exhibitions,
of established professional artists and a
while the Assembly and Thomas Rooms
concern to show works of ‘high standard’.
were available for hire at 10s each.
The photographs show the Eric Malthouse
Wine-Makers
Society
and
Exhibition which was on display from Llantarnam Grange became a registered
March to April, 1968.
charity on 10th October, 1966. Adverts newspapers
By the 1980’s the work of the CDC was
advertising the Grange as a venue for
nearly done, the New Town was built and
weddings and parties
Cwmbran had begun to establish itself as
appeared
in
the
local
a bustling town. The Royal Charter that At this time Llantarnam Grange showed
brought the CDC into existence would
Christine Kinsey, A Pilgrim’s Progress 1987
expire in 1988. CDC could not hold any
to national and international artists and
assets on its demise and sold the freehold
makers. By 1989 a third gallery space had
of the building and land to the Trustees of
been opened as well as the craft shop,
Llantarnam Grange for ÂŁ5,000. The sale of
darkroom, educational workshop space
the Grange took place in September, 1983,
and studios for artists. This additional
the same year CDC also gave ÂŁ30,000 to
activity meant that the Centre was busier
be used for the further provision of artistic
than ever and the staffing of the Centre
cultural amenities.
began to increase.
In 1986 Sara Bowie became the first Arts
In 1992 funding was secured for an
Centre Manager.
Under her guidance
Education Liaison Officer whose role
the Grange developed from a meeting
would be to expand the programme of
place and small gallery into a nationally
educational workshops and classes and to
renowned Arts Centre.
Its exhibitions
develop stronger links with local schools.
programme was expanded to include
A wide variety of workshops began to be
art and craft produced locally through
organised for children and adults, including
photography, pottery, embroidery and
The quality of our exhibitions was
even circus skills. Students from Schools
recognised in the Arts Council of Wales
were encouraged to produce work in
Annual Report of 1995, which stated that
response to the exhibitions. Very soon
our touring exhibition, The Breakfast,
the education programme established a
Lunch and Dinner Party by Morgen Hall,
national reputation for its quality and high
was ‘probably the most popular exhibition
standard which was recognised with its
of the year’. This exhibition toured around
inclusion in Understanding Art, published
Britain for over a year, starting at the
by the Curriculum Council for Wales, in
Grange in December, 1994, and finishing
which the centre was cited as a ‘centre of
in Aberdeen in May, 1996.
good art practice’. After many successful years of running the In February 1994 the Foundation of Sports
Arts Centre, Sara Bowie left the Grange in
and Arts awarded a grant of £93,500 to carry
June, 1994, and in January, 1995, Hywel
out necessary repairs and work began in
Pontin took up post as Director.
November 1994 to repair the roof.
Morgen Hall, The Breakfast, Lunch and Dinner party 1994
In 1998, with the support of an Arts
Revenue Funded Organisations. We aim
Council of Wales, “Building the Arts
to provide opportunities for people to
Award” and funds from the Foundation
become engaged in their contemporary
for Sports and Arts a quarter of a million
cultural heritage. It is with this belief
pound refurbishment of the Arts Centre
and by strengthening our relationship
took place.
and working in partnership with makers, artists and organisations we will continue
The building was complete gutted on
to demonstrate our significance as a
the inside, curing many of the buildings
regional cultural asset.
structural and operational problems. In 1998 coinciding with the Centre’s Following the refurbishment the Centre
relaunch following its major refurbishment
has gone from strength to strength.
LGAC initiated and toured “Petrified Landscape” an exhibition of sculptural
Llantarnam Grange Arts Centre is a part of the Arts Council of Wales portfolio of 68
ceramics by Billy Adams.
Launch of the Cwmbran Mosaic
50th
large scale mosaic murals depicting earth,
anniversary of the Cwmbran New Town
wind, fire and water, while in 2008 Padre
and to mark this milestone the centre was
Pio School asked LGAC to design, build
commissioned to produce a ceramic mural
and install a mosaic mural to celebrate
to be installed in the centre of the town.
the new school.
The
following
year
saw
the
The staff worked with every primary school in Cwmbran and with the kindergarten
The previous year the centre delivered
from Cwmbran’s twin town Bruchsal in
an artist in residence project at the
Germany. The final piece was unveiled by
Llanfrechfa Grange Hospital in Cwmbran,
the Welsh Assembly’s First Minister. This
working with residents, their families
was not the only occasion the centre has
and staff to produce a series of ceramic
been commissioned to produce murals
and mixed media art works which were
and sculptural works. Since 1998 LGAC has
installed in new community housing
completed and installed many works. The
throughout the health board region. The
newly built Rogerstone Primary School
centre’s education team worked on some
commissioned “The Four Elements” four
exciting engagement projects, beginning
Arlington Cwmbran 2008
in 2000 and running for four years the
seen at LGAC the exhibition toured to
centre worked with local partners to
Walford Mill Crafts, Hampshire, Craft in
deliver a Cymorth Project; the collective
the Bay, Cardiff and the Art House, Caylus,
work focused on engaging with socially
France. The following year the centre
excluded young people in the County
teamed up with the Lee Arts Center,
Borough. In 2010 The Centre’s team started
Arlington, Virginia (USA) to produced
an arts based programme working with
“Art Exchange”. A curated exhibition of
young people with dementia. This project
contemporary American ceramics came to
has now become a key part of the Centre’s
Cwmbran and LGAC curated an exhibition
Learning Programme.
of Welsh ceramics that went to the USA.
In recent years the LGAC exhibitions
The LGAC touring programme has
programme has grown in stature. In 2007
continued and in 2008 Artist and Curator
with support from the Arts Council of
Richard
Wales the centre created the exhibition
Subterranean Architecture of Western
“Porcelain: Ritual & Process”. After being
India” which toured to Aberystwyth Arts
Cox
produced
“Stepwells:
The Curious World of Becky Adams
Centre & Brewery Arts Centre Cumbria
LGAC collaborative touring exhibition.
before embarking on an epic eight year
This show was seen at seven venues
cycle of exhibitions around the world. The
across the UK; Ruthin Craft Centre, LGAC,
following year in 2009 LGAC produced
Mission Gallery, 20:21 Centre for the
“Barrett-Danes: A Continuing Tradition”:
Visual Arts, National Centre for Craft and
showing the ceramic work of Alan and
Design, Basingstoke Museum and Art
Ruth Barrett Danes and their son Jonathan.
Gallery, Hannah Rogers Trust, Penarth Pier
It toured to University of Aberystwyth’s
Pavillion and Chapel Gallery Ormskirk
Ceramic Archive as part of the 2009 International Potters Festival and to the
Llantarnam Grange Arts Centre are
Art House, Caylus, France.
always looking at ways artists can explore different ideas. “Makers to Curators” is
LGAC has worked collaboratively with
a project initiated to ask established
other venues to produce exhibitions for
makers to devise and curate an exhibition.
example in 2010 “The Curious World of
“Resonant Colour” was the first in our
Becky Adams”, a Ruthin Craft Centre and
Makers to Curators series and curated by
When I Woke - Private View
Cardiff based maker Laura Thomas in 2011.
the Ceramic Archive of the University of
In 2012 Claire Curneen and Lowri Davies
Aberystwyth in October 2013.
produced “When I Woke” an exhibition exploring the human condition and taking
That year also marked the 20th anniversary
its name from a work by iconic Welsh poet
of the centre’s Education programme.
Dylan Thomas.
During those two decades 133, 443 people have taken part in activities initiated by
Other exhibition touring projects have
LGAC. The sheer scale of the number of
included “Casting On” by Michael Organ
people who have taken part illustrates
which toured to the Beverely Museum
the long term legacy of the centre’s
and Art Gallery in 2013 and “Transition
engagement programme.
and Resonance – a Modern Masque” by internationally acclaimed maker Michael
Llantarnam Grange Arts Centre has
Flynn. Opened by Paul Greenhalgh
been committed to allowing the staff at
Director of the Sainsbury Centre for the
the centre to express and develop their
Visual Arts, this exhibition was shown at
creative vision. The Centre’s Crafts Officer
On My Mother’s Knee, 2013
devised and curated “On My Mother’s
generation that LGAC launched a project
Knee”, an exhibition about domestic
that works with the future generation
heritage. This project saw the launch of “on
of artists. LGAC are part of a national
line publications” and toured to Gwynedd
programme called Criw Celf that aims to
Museum and Arts Gallery. In 2016 the LGAC
work with some of Wales’ most able and
Crafts Officer will be curating Zoomorphic
talented young people.
an exhibition exploring the world of half human and half animal.
The work of the Arts Centre has been supported by many organisations. LGAC
In 2014 LGAC marked the 100 years
received financial support from the old
since the outbreak of the Great War by
County Council of Monmouthshire and
commissioning 14 contemporary artists
then its successor Gwent County Council
and makers to submit work to an exhibition
and Torfaen Borough Council. Following
entitled “fourteen”. This was a profoundly
the local government changes in 1996
moving exhibition. It was fitting that in
Torfaen County Borough Council and
the same year as honouring the fallen lost
Monmouthshire County Council have
Michael Flynn, Transition and Resonance 2013
continued to support the Centre’s work.
challenges they present.
In the early days LGAC received funds from the Arts Council of Great Britain,
The Art Centre is in indebted to all those
then its regional office the Welsh Arts
who have supported its work over the last
Council together with the independent
five decades. From its Board of Trustees,
funding body the South East Wales Arts
Staff and Volunteers for all their hard work
Association until they merged in 1994 and
to the visitors and participants who have
became the Arts Council of Wales. LGAC
come to the Centre, but most importantly
received revenue support and became
to the artists whose work Llantarnam
a member of the Arts Council of Wales’
Grange Arts Centre has been proud to
Revenue Funded Portfolio in 2010.
show.
Over the last five decades Llantarnam Grange Arts Centre has presented some very exciting projects and looks forward to the next fifty years and the exciting
From Adams to Zobole Fifty years of Llantarnam Grange Arts Centre Anna Adam, Becky Adams, Billy Adams, Iwan Bala, Alan Barrett-Danes & Ruth Barrett-Danes, Geoffrey Bradford, Sarah Bradford, Mick Brown, William Brown , Adam Buick, Brendan Burns, Roger Cecil, Richard Cox, Jack Crabtree, Brian Crouch, Ivor Davies, Lowri Davies, Natalia Dias, Ken Elias, Ann Catrin Evans, Michael Flynn, Morgen Hall, Frank Hamer, Janet Hamer, Jane Hamlyn, Ruth Harries, Rozanne Hawksley, Bert Isaac, Dilys Jackson, Walter Keeler, Christine Kinsey, John Langford, Mary Lloyd Jones, Michael Organ, Arlie Panting, Betty Pepper, Thomas Rathmell, John Selway, Laura Thomas and Ernest Zobole
A Llantarnam Grange Arts Centre Exhibition 2016
The Skirrid’, Anna Adam, tapestry
Anna Adam 1943 - 2008 Anna Adam was one of Wales’ foremost textile
designers
and
a
renowned
tapestry weaver. Her pictures developed over the years from straightforward landscape tapestries to imaginative and innovative depictions of the country near Abergavenny where she and her husband had happily located after leaving Cardiff. She worked with superb technique, immaculate finishing and a colour palette sensitive to the Welsh pastoral scene.
Dates Exhibited at LGAC: • 1st June - 25th June 1988: Makers Guild in Wales • 2 5th November 1990 - 10th January 1991: Colour for Christmas - Makers Guild in Wales • 17th October - 4th November 1994: Prized Pieces • 1 5th November - 24th December 1997: Makers Guild in Wales
Caravan, Becky Adams
Becky Adams Becky Adams is an applied artist based
Becky exhibits regularly and has work
in Penarth, South Wales. She combines
in the Tate, V&A and London School of
stitched
Printing collections.
paper,
vintage
fabric,
old
sketchbooks and antique ephemera to create intricate textile and book works.
Dates Exhibited at LGAC: • 0 7th November - 24th December 2009: Once Upon a Time
Becky studied Fine Art and English Literature
• 2 2nd May - 10th July 2010: The Curious World of Becky Adams (toured 2010 – 2015)
in Liverpool (BA Hons) in 1994 and later
• 2 6th November 2011 - 28th January 2012: Running Stitch
gained an MA in Book Arts in 2001. She has
• 26th November 2011 - 28th January 2012: Ornament
since supplemented her studio practice
• 26th July - 20th September 2014: Fourteen
with running workshops and undertaking artist residencies throughout the UK. Past residencies include Ruthin Craft Centre, Kings
Lynn
Museum,
Chitraniketan
(Southern India), Queenswood School For Girls and Plas Newydd.
Rockabillys, Billy Adams
Billy Adams A potter whose work deals with exploring
structure which elevates them beyond
and experimenting with aspects of the
their own identifiable function and so
landscape; Billy Adams works within the
gives them another meaning.
vessel format, combining textures and
conclusive forms are recognised as
colours to give the viewer an intimate
jugs,
insight into his private view of ceramics.
these represent profound arguments
The world we live in is a combination of
concerning issues of an individual’s
structures and forms interacting with
perception and memory of an ever
man-made elements, he aims to provoke
changing landscape.
the onlooker to question the value of a vessel as a piece of sculpture. Billy prefers to stay within the realms of the vessel. Rims, handles, lips and balance are commonplace within traditional ceramics, yet he uses them in a unique integrated
bowls
and
vessels;
Their
however,
Dates Exhibited at LGAC: • 12th March - 13th April 1990: Vessels in Clay • 2 1st November 1998 - 09th January 1999: Petrified Landscape • 23rd June - 11th August 2012: Eroded Perceptions
“Mythic Bestiary”, Iwan Bala, (Mixed media, Indian Khadi Paper, Mexican Amate paper 2001 to 20110
Iwan Bala Iwan Bala is an established artist, writer and lecturer based in Wales. He has held solo exhibitions annually since 1990, participated in many group exhibitions in Wales and abroad and is represented in public and private collections. His work was exhibited in four Chinese cities in 2009. He has published books and essays on contemporary art in Wales and is a frequent lecturer on the subject. He has often presented and been interviewed for television. Iwan Bala is cited in most published compilations on contemporary art in Wales.
Dates exhibited at LGAC: • 07th January - 18th February 2006: Mappa Mundi • 16th March - 04th May 2013: Fieldnotes • 26th July - 20th September 2014: Fourteen
Figure bowl from Ruth’s collection, Alan & Ruth Barrett-Danes
Alan Barrett-Danes (1935 – 2004) & Ruth Barrett-Danes Working jointly and individually Alan and Ruth Barrett-Danes made a major contribution to the development of studio ceramics in Britain. For the Barrett-Danes’, ceramics has been a tradition spanning six generations, dating back to the early years of the nineteenth century in Kent. Ruth is an imaginative modeller, while Alan was more specialised in technical aspects. Working together, they achieved considerable success, with their work being featured in many exhibitions and publications. Alan would later take the opportunity to teach at Cardiff College of Art in the 1960s, where he taught generations of students for over thirty years.
Dates Exhibited at LGAC: • 1 4th March - 09th May 2009: Barrett-Danes - A continuing tradition
‘Traces’ Belsay Hall series, Geoffrey Bradford, (mixed media)
Geoffrey Bradford The subject of Geoff’s photographic
suggestion rather than description. The
practice is the ordinary, overlooked and
titles are a prompt; they provide the
common-place
to
viewer with a way that encourages them
everyone. It references the ‘made’ world
to look at and interrogate the work more
and, though absent, a human presence is
closely.
and
recognisable
implied.
Dates exhibited at LGAC: • 06th March - 17th April 1999: Inside-Outside
As an artist/maker, Geoff has always considered the photograph to be a physical object as well as an image to be handled as well as viewed – one of the reasons for their relatively small size. They are quiet, understated and intimate and reveal themselves slowly. His purpose is to create images/objects that are about things rather than of them and are about
• 0 8th September - 20th October 2007: The Constructed Image
‘And in the Stillness’ 1, Sarah Bradford, (oil on board)
Sarah Bradford Sarah works as an artist, curator, writer and lecturer. Her work attempts to recapture the essence of places seen and felt, not in any topographical sense but as a subjective and personal view. This making of an imagined landscape is a summingup
of
memory
and
experience.
Impressions, large and small, distant and close-up, how even the smallest detail can recall the whole and ideas about scale are explored. All are brought together to form coherent and convincing landscape imagery whilst holding fast to the autonomy of painting.
Dates exhibited at LGAC: • 06th March - 17th April 1999: Inside-Outside • 22nd June - 03rd August 2002: Works on Paper
Head’, Mick Brown, oil on canvas, c 1999, LGAC Permanent collection
Mick Brown Mick Brown maintains that his paintings
from 1977-1978 as well as Cardiff Art
are an essential part of his life. They are
College from 1978-1981. His work has
expressive works in which he is in dialogue
featured in exhibitions in Edinburgh,
with the world both material and spiritual.
France and numerous galleries through-
The paintings have a narrative element
out Wales.
that evolves during the ‘conversation’ which is the process of the painting. His work asks the viewer to rest and consider the painting as the interaction between materials and processes become a vehicle for reflection. The language of mark and colour convey the energy within the paintings. He was born in Hoddesdon, Herts and attended the Byam Shaw School of Art
Dates exhibited at LGAC: • 2 4th June - 22nd July 1995: Icons, Monuments & Memorials • 1 6th January - 27th February 1999: Silent Conversations
William Brown 56710024 - Photo © Bernard Mitchell, 2009 (William Brown artwork)
William Brown 1953 – 2008 Was a prolific painter and print maker informed by poetry, literature and travel; he was born in Toronto, Canada but later moved to Bridgend, Wales. Collaborating with poets he produced an extensive series of black and white lino, wood block and silk screen prints. He exhibited widely in Britain and overseas in Europe, Today Browns’ work can be found in many public and private collections worldwide.
Dates exhibited at LGAC: • 23rd April - 19th May 1990: Paintings & Prints
Porcelain with Abereiddi stone, Adam Buick, Nuka glaze
Adam Buick Adam’s work uses a pure jar as a canvas on
Pembrokeshire.
to which he maps observations from his
the wind and rain returned it back to the
surroundings. Utilising stone and local
earth. Clay in turn was created from the
clay he aims to create a narrative that
weathering of igneous rocks upon which
conveys a unique sense of place. The clay
the unfired Jar stands.
inclusions mutate during firing resulting in random individual items; this represents the human condition and how interaction with the landscape alters our psyche. His work is also about change, about natural cycles and the transience of human endeavour. Part of his ‘Earth to Earth’ project is to illustrate one cycle as a metaphor for all. He placed a raw, unfired Jar at the top of Carn Treliwyd in
Made from the earth,
Dates Exhibited at LGAC: • 2 4th November 2012 - 12th January 2013: Earth to Earth
‘Sigh’ 2011, Brendan Burns, (Oil on Board)
Brendan Burns The fine line which separates figuration and abstraction underpins Brendan’s work. A close relationship with the Pembrokeshire Coast has provoked a large and ongoing series of paintings. Paint in fact, is a major concern in itself. Process, is integral, both in painting terms as well as ‘within’ the landscape. The concept of space, both actual and pictorial; implications of time and place; issues within movement, weather and light; alongside gesture, glimpse and memory are requisite themes within these paintings.
Dates Exhibited at LGAC: • 03rd February - 07th March 1992: Recent Works • 14th April - 26th May 2007: Brendan Burns • 25th January - 15th March 2014: 56 Group
Roger Cecil
Roger Cecil 1942 – 2015 Born in Abertillery Roger Cecil studied at both Newport College of Art and St Martins School of Art. In 1964 he won the David Murray Landscape Award from the Royal Academy and started studying at the Royal College of Art for a short period before leaving to work in mines and on building sites. He was described as sometimes reclusive. He was known for his figurative and largely abstract paintings and used materials such as sandpaper, primer, Polyfilla and emulsion. From the late 1980’s his works were widely exhibited in Wales and elsewhere.
Dates exhibited at LGAC: • 08th September - 20th October 2007: Cariad • 0 7th November - 24th December 2009: Once Upon a Time • 15th January - 05th March 2011: Resilience
“Panna Meena Ka Kund 6.51/4.51 2009”, Richard Cox, Archival Digital Print
Richard Cox Studied Fine Art in Southend, Newport,
by Jai Singh II between 1715-40 have
Birmingham and London; he moved to
influenced the developments of his work.
Wales in 1975. He supported his work in various teaching posts, including
Richard’s work is held in 27 public
Wolverhampton
RCA,
collections in the UK and internationally,
Delhi
including the National Museum and
College of Art and Pennsylvania Academy
Galleries of Wales, The State Museum at
of Arts, and has worked as a visual arts
Majdanek, Jawahar Kala Kendra, State of
organiser.
Rajasthan, British Council New Delhi and
Kunstakademeit
Polytechnic, I
Trondheim,
Newport Museum and Art Gallery. Richard
has had strong associations
with Rajasthan since first visiting India in 1993. The impact of the rich visual culture of India, and in particular aspects of traditional architecture, Stepwells and the four existing stone observatories created
Dates exhibited at LGAC: • 1 6th September - 28th October 2000: Surface Language • 02nd September - 09th November 2002: Containment • 26th April - 07th June 2003: Rules of Engagement • 6th September – 1st November 2008: Stepwells
Valley Landscape’ , Jack Crabtree, LGAC Permanent collection
Jack Crabtree Is a contemporary English figurative painter and teacher; he is well known for a series of paintings documenting the South Wales coal industry. Crabtree was born in Rochdale and educated at the Rochdale College of Art, Saint Martins’ School of Art and Royal Academy Schools. In 1971 he was elected a member of the 56 Wales Group and to date has had over 70 solo exhibitions. His work can be found in many public exhibitions.
Dates exhibited at LGAC: • 28th April - 12th May 1973: A Four Man Show • 1 1th September - 25th September 1976: Paintings & Drawings • 2 7th November - 10th December 1983: Painting, Drawings & Prints • 3 0th May - 01st July 1989: Parading the Dog - Belfast 89’
Dark Orbit’, Brian Crouch, mixed media assemblage
Brian Crouch Brian studied at Brighton College of Art followed post-graduate study at the Royal Academy Schools; originally he lived and had studios in London but relocated to Monmouthshire in 1987. Over the years he worked teaching painting at Brighton College of Art and as an external examiner for the University of Central London. The media he uses is dictated by his idea and what’s most appropriate to convey his thoughts; be it a painting, drawing or a three-dimensional object. Often ideas arise from observations made in and around the Wye Valley where he lives and from his travelling experiences.
Dates Exhibited at LGAC: • 17th May - 15th June 1992: Gardens and Landscapes • 10th June - 22nd July 2000: Home and Away • 24th April - 05th June 2004: Sea Signs
“William Salesbury translating the Book of Revelations into Welsh/ William Salesbury yn cyfiethu Llyfr y Datguddiad”, oil on canvas, late 1960s, Ivor Davies
Ivor Davies Ivor studied at Cardiff College of Art and
Cathedral.
Swansea College of Art between 1952 and 1957 followed by the University of
A major retrospective exhibition of his
Lausanne in Switzerland. He then began
work from the 1940s onwards, Ivor Davies:
teaching at the University of Wales before
Silent Explosion, opened at National
moving on to the University of Edinburgh.
Museum Cardiff in 2015. This was the
Ivor retired from teaching in 1988.
largest exhibition dedicated to the work of a single contemporary artist ever held
Ivor is passionate about the culture, language and politics of Wales, which inspire his artwork. His early works in the 1960s used explosives as an expression of society’s destructive nature. More recent work has included painting, installations; he has also designed and installed a mosaic of Saint David at Westminster
in Wales. Dates exhibited at LGAC: • 06th January - 17th February 2007: Drawing Roy.
Tea Set from the artist’s own collection, Lowri Davies
Lowri Davies Lowri Davies’ Welsh heritage is a major source of inspiration. Vibrant illustrations of birds, ‘traditional’ landscapes, floral and fauna adorn her own distinct slipcast bone china tableware that includes tea sets, vessels and vases. These pieces reference established ceramic tableware such as Nantgarw and Swansea porcelain and ceramic souvenirs.
Dates exhibited at LGAC: • 24th February - 07th April 2007: Lowri Davies • 0 7th November - 24th December 2009: Once Upon a Time • 26th November 2011 - 28th January 2012: Ornament • 0 6th October - 17th November 2012: Makers to Curators - When I Woke
Rosa Branca, Natalia Dias
Natalia Dias Natalia’s work is her own language. She
other worlds through installation, where
sculpts metaphorically the way that she
people can step into their imagination
sees and feels things, intending to project
and her own.
the viewer to a dreamscape of sensuality Her references and influences are her
and magic realism.
emotions,
society,
nature,
fairytales,
The processes that she uses are mostly
music, and other artists such as Louise
hand-build
Bourgeois, Olafur Eliasson, Richard Slee
and
casting,
sometimes
transfers and lustres are applied but she also likes to experiment with assembling ceramics and other materials.
and Duchamp. Dates exhibited at LGAC: • 05th September - 31st October 2009: Portal Series • 15th January - 05th March 2011: Resilience
Natalia’s work is quite concept and process based, most of the sculptures tell a tale or a critique by themselves but she loves to create with them narratives and
• 23rd July - 03rd September 2011: Transfigurations
Shifting Screenplay’ 2015 & ‘Between Pictures’ 2009, Ken Elias
Ken Elias Ken Elias was born in 1944 in Glynneath,
drawing inspiration from global issues
West Glamorgan. From 1966 to 1969
and currents, while also being strongly
he studied at Newport College of Art &
rooted in the visual language of the South
Design, followed by an MA in Fine Art at
Wales valleys
the University of Wales Institute Cardiff. He is a member of the Welsh Group and the Royal Cambrian Academy Using acrylic paint, photomontage and mixed media, Ken Elias creates powerful, striking images, with strong shapes and contrasting colours. Influenced by the memories of family and cinema during his 1950s childhood and his love of poetry and art, his work uses memory and imagination, responding to and
Dates exhibited at LGAC: • 0 9th November - 27th November 1988: Recent Paintings & Drawings • 25th January - 15th March 2014: 56 Group
“Chwyldro / Revolve” , Ann Catrin Evans, copper and silver
Ann Catrin Evans Ann Catrin Evans is a sculptor working
fabrication and more high tech methods
with all metals. Her portfolio of work is
such as laser cutting and rapid proto-
diverse; jewellery, functional objects and
typing. The materials she uses are
sculptures. Her love of making by hand
mainly steel, but also bronze, stainless,
shows in her subtle use of materials and
aluminium, silver, copper, and gold.
careful design. She works with fragile
Balance, proportion and simplicity are the
wire work and robust large scale public
key features in her work. The work has a
art projects. Ann also teaches and has
powerful visual impact and strength in
undertaken commissions in America and
design. Always carefully considered and
Japan.
sympathetic to the needs of the client Ann Catrin Evans delivers a relevant
Her most prominent commission is in Cardiff Bay - the bronze and aluminium handles throughout the Wales Millennium Centre.
Techniques
employed
are
traditional forging, casting and general
design to site and proposed use. Dates Exhibited at LGAC: • 11th January - 15th February 1995: Ironwork • 15th January - 05th March 2011: Resilience • 20th July - 31st August 2013: Bregus
Cockcrow’, Michael Flynn, stoneware
Michael Flynn Born in Germany Michael he spent some
he produces explore the dangerous
of his early childhood on a farm in Ireland.
nature of male and female relationships
He initially studied Fine Art and was a keen
with suggestions of lust, violence, joy and
painter; however he returned to study
ecstasy. He has a studio in Cardiff but also
ceramics at Cardiff College of Art in 1975
spends part of the year in Europe, mainly
under the guidance of Alan Barrett-Danes.
Germany. He received a Creative Wales
His highly distinctive figurative ceramics
Award in 2008.
draw inspiration from diverse sources such as Meissen figurines, expressionist art and the gestural ceramics of Peter Voulkos; along with his interest in stories, myth and legend. He uses a variety of ceramic techniques including raku, terracotta, porcelain and occasionally works in bronze. The forms
Dates exhibited at LGAC: • 18th May - 06th July 2013: Transition and Resonance:
Teapots, Morgen Hall
Morgen Hall 1960 - 2016 Born in the United States, Morgen spent
to give a very precise finish, coloured
her early years in Scotland. She trained
slips and paper stencils were used for
in ceramics in the 1980s at Grays School
decoration. In her time as a research
of Art, Aberdeen followed by an MA
fellow in Cardiff she investigated ways
in Cardiff.
Her work was focused on
of combining industrial methods with
making decorative tableware intended
hand production and introduced aspects
for everyday use in a style consisting of
of computer technology into creating
fine detail and strong bold forms. Food
designs.
connections were essential to her designs; most pieces were specifically designed and inspired by the food for which they were intended. The wares are commonly wheel-thrown in fine red earthenware, impressed patterned with a roulette and turned
Dates Exhibited at LGAC: • 1 1th November - 21st December 1994: The Breakfast, Lunch & Dinner Party (National Touring Exhibition)
Crucian Carp’, Frank Hamer,ceramic
Frank Hamer Studied industrial design for weaving
the artist, as ceramic happenings, inspired
at Accrington School of Art but later
by local wildlife. Frank helped establish
became interested in pottery, Frank
the South Wales Potters organisation and
moved to Burnley Municipal School of Art
was awarded a Lifetime Achievement
where he received his National Diploma
Award along with his late wife Janet
in Design, Handcraft in Pottery in 1951.
at the International Ceramics Festival,
After many years of teaching he retired
Aberystwyth in 2005.
in 1982 and concentrated solely on his pottery; becoming a maker of pressmoulded plates with fish for imagery, the
Dates Exhibited at LGAC: • 0 1st July - 13th July 1968: Craftsmen Potters of South Wales
plates incorporate ceramics along with
• 0 5th May - 17th May 1969: Craftsmen Potters of South Wales
his interest in drawing and decoration.
• 2 7th June - 10th July 1982: South Wales Potters People Pots
He hopes the plates are read on four levels: as plates; as overall decorative objects; as specific imagery and more importantly to
• 0 1st December 1988 - 21st January 1989: South Wales Potters - Pots for the Present • 31st May - 12th July 2014: A Ceramic Celebration
I Am Raven’, Janet Hamer, ceramic
Janet Hamer 1932-2014 Janet Hamer trained at Lancashire Art
hollow wheel-thrown shapes which were
School and then set up a pottery studio
modelled, pinched and pulled. She used
with her husband, potter and teacher,
glazes to create effects which helped to
Frank Hamer. Originally they made
capture the essence of the bird. The pieces
tableware in an earthenware body with
were fired to stoneware temperatures in a
slip and lustre decoration.
propane gas kiln.
After they moved to
South Wales in
1960 she developed an independent
Dates Exhibited at LGAC: • 0 1st July - 13th July 1968: Craftsmen Potters of South Wales
specialisation in ceramic bird forms in
• 0 5th May - 17th May 1969: Craftsmen Potters of South Wales
oxidised stoneware. This gave her greater
• 2 7th June - 10th July 1982: South Wales Potters People Pots
freedom and scope to explore the rich
• 0 1st December 1988 - 21st January 1989: South Wales Potters - Pots for the Present
possibilities of ceramic materials. The birds were conceived first in the form of a drawing, made from life from her walks in the local environment. Then she formed
• 31st May - 12th July 2014: A Ceramic Celebration
Teapots, Jane Hamlyn
Jane Hamlyn Jane has an international reputation as a leading exponent of contemporary ceramics, her work has been widely exhibited and is represented in many public collections in the UK and abroad. Trained on the legendary Harrow Studio Pottery course, she has continued for over 40 years as a full-time ceramist, specialising exclusively in the saltglaze technique and is particularly well-known for her colourful and inventive functional pots.
Dates exhibited at LGAC: • 17th May - 15th June 1992: For Use and Ornament
Chair, Ruth Harries, hand knitting, paint. Concrete
Ruth Harries Ruth Harries lives and works in Cardiff
and overlooked, re-stimulating the use
where she studied Textile Print at Cardiff
of hand stitch and creating sculptures of
College of Art. Her works in stitch consider
dark beauty.
characteristics of mark- making produced by writing and drawing in both hand and
Ruth has exhibited both Nationally and
machine stitch.
Internationally, including France where her work represented Wales at the
She is interested in the traces and the details in marks left behind in our everyday lives. Her sculptural works contain a multilayered narrative of three dimensional construction enabling the reassembling and reinventing of nails, wire, tacks, cloth and thread; materials from her upbringing and sense of place; unexceptional items that might otherwise have been discarded
‘Interceltique de L’Orient. Dates exhibited at LGAC: • 2 6th November 1990 - 16th January 1991: Exteriors for Interiors • 11th June - 23rd July 2005: Birthright • 10th January - 07th March 2009: Ffibr - Form and fusion • 0 7th November - 24th December 2009: Once Upon a Time • 2 6th November 2011 - 28th January 2012: Running Stitch • 26th July - 20th September 2014: Fourteen
Mission Accomplished, Rozanne Hawksley
Rozanne Hawksley Rozanne is an art innovator embracing
Lucien Freud at the Royal College of Art
intimate, personal and universal themes;
in the 1950’s and began using textiles and
for example pieces often encompass
needlework as an art form in the 70’s; she
the fragility of the human condition
held her first solo exhibition at the age of
particularly death and make reference to
78.
the injustice of war. She draws inspiration from her personal experiences; having suffered the death of two husbands and two children, her style is never soft or homely. Working predominantly in embroidery and textiles, her installations combine poignant materials: a faded glove, a lily, photographs or fragments of chiffon to make a reflective point. She studied with Francis Bacon and
Dates exhibited at LGAC: • 26th July - 20th September 2014: Fourteen
Quarry Entrance’ 1981, Bert Isaac, Watercolour
Bert Isaac 1923 – 2006 A successful painter and printmaker
Brecknock Museum and Art Gallery and
specialising in landscapes, Bert also
the collection of the University of South
worked as a book designer and art teacher.
Wales.
He was born in Cardiff and studied at Cardiff College of Art; in his early career he was influenced by Neo-Romantic painters such as Graham Sutherland and Keith Vaughan. After many years of living and working around London he returned home to Wales in the 1980’s settling in his wife’s home town of Abergavenny. He was a founder member of the Welsh Group and the Watercolour Society of Wales; his work is now held in public collections
such
as
MOMA
Wales,
Dates Exhibited at LGAC: • 09th November - 22nd November 1986: Bert Isaac • 29th July - 31st August 1991: Imagined Places • 10th September - 22nd October 2005: Continuum
Coned Pollen Form, Dilys Jackson, (bronze)
Dilys Jackson Dilys Jackson lives in Cardiff and has
embody the dynamic balance between
travelled and worked in Europe, America,
pressure of weight and the release of
Canada, United Arab Emirates, Scandinavia
pressure between components.
and Australia.
She has undertaken
commissions and residencies in the UK and Canada and exhibited her work in Wales, England and Sweden. Her work is derived from a kinaesthetic relationship between land or plant forms and the human body. The sculpting of rock and earth by wind and water; along with the growth of plants are processes which are echoed in the human body and inspire the work. Each work has formal elements of mass and division; they
Dates Exhibited at LGAC: • 16th August - 28th September 1996: Off the Wall • 25th January - 15th March 2014: 56 Group
Flailed Hedge Dish, Walter Keeler
Walter Keeler Pottery tradition is at the heart of all Keeler’s work, he is informed by his passion for pots from the past, the world in which we live and the making and firing process. He discovered pottery as a boy and became intimate with fragments of ancient pots picked up on the beaches of the Thames in London. Some of his pieces are simple, useful artefacts like mugs or jugs whilst on other occasions the work is less straightforward, making demands, even challenging the user to negotiate with an unexpected pot to do an ordinary job. He aims for his work to embody seriousness, some humour
and sensual pleasure. Dates exhibited at LGAC: • 29th March - 17th May 2014: Ceramic Showcase • 31st May - 12th July 2014: A Ceramic Celebration
Alltud / Exile’ 2006/2013, Christine Kinsey, oil on canvas
Christine Kinsey In earlier years Christine Kinsey worked
in her childhood. Her images incorporate
at numerous roles within various Art
symbols and motifs that reinterpret
organisations and associations in Wales
the traditional symbolic representation
before relocating to the Dutch/French
of women, revealing the characters
Island of St Maarten, Caribbean, to work
continuing search to become the subject
as an artist and teacher. Since her return
and not the object of the image.
to Wales in 1980 she has lived and worked in Carmarthenshire and Pembrokeshire and has had three national and three international solo touring exhibitions. In her work she integrates writing into her visual language creative process. She has developed a group of female characters who inhabit her imagery and who follow the narrative line of a journey that began
Dates Exhibited at LGAC: • 0 6th April - 18th April 1987: A Pilgrim’s Progress in Painting & Drawing
‘Cmon You Reds, Hard Country’ Etching John Langford
John Langford John Langford is a prolific Welsh musician and artist based in Chicago best known for his striking portraits of country music icons including Hank Williams, Johnny Cash and Elvis Presley.
His paintings
appear on bottles and other items for the Dogfish Head Brewery. For over 10 years he illustrated the comic strip Great Pop Things under the pseudonym Chuck Death. He has worked actively to campaign against the death penalty in Illinois.
Dates exhibited at LGAC: • 11th January - 16th February 1997: Hard Country • 26th July - 20th September 2014: Oriel Café Exhibition
Kite Festival with Cow, Mary Lloyd Jones
Mary Lloyd Jones Mary Lloyd Jones was born and still lives in
University of Aberystwyth, and holds an
Ceredigion, she studied at Cardiff College
Honorary Doctorate from the University
of Art and has exhibited regularly since
of Wales, Cardiff.
1966 in Wales, Britain and internationally. She is inspired by the Welsh landscape, and in particular, the man-made marks on that landscape, and her bold expressionist paintings are noted for their use of vibrant and rich colour. She was one of three artists from Wales selected to take part in a touring exhibition in China and took part in the Wales Smithsonian Festival in Washington DC both in 2009. Mary is an Honorary Fellow of Trinity College, Carmarthen and
Dates Exhibited at LGAC: • 6th March - 17th April 2004: The Colour of Saying
Landscape Kettle’ 2013, Michael Organ, patinated bronze, wood base with steel strapping
Michael Organ Born into a mining family in Penmaen,
relief sculpture and often incorporates
Gwent; now based in Pontypool Mike
found objects, which have captured
is a former head of Art and design at
his imagination and thus have a built in
Fairwater Comprehensive School and
symbolism.
has also taught at the University of Wales, Newport. He studied at Caerleon College and the University of Wales and has been exhibiting since 1964, largely with the ‘Welsh Group’ of artists. Michael has become well known for the diversity of form and structure of his work and the variety of materials used/ techniques applied, which are often selected through artistic intuition. His work moves between painting and
Dates exhibited at LGAC: • 26th April - 31st May 1997: New Work • 19th January - 09th March 2013: Casting On
Girl with sheep (1985), Arlie Panting, Oil on canvas, LGAC Permanent collection
Arlie Panting 1914 - 1989 Arlie Panting was born in Milwaukee
Arlie’s
in 1914. She initially studied art in
professional, with a fine sense of spacing
Wisconsin, America, completing it after
and texture. The style is not particularly
the Second World War at the Grande
consistent – it veers between the near
Chaumiere in Paris. She painted regularly
abstract and a form of surrealism.
in London from the mid 1950’s onwards. The neo–romantic if not surrealist flavour of her painting has something distinctly American about it and fits neither into the European art scene, nor does it relate to the abstract expressionism which has been the principal influence coming to Europe from across the Atlantic.
work
is
sophisticated,
very
Dates Exhibited at LGAC: • 2 6th September - 09th October 1982: Painting Past & Present
‘The Last Chord’, Betty Pepper
Betty Pepper Betty Pepper finds inspiration for her work in stories, poems, memories, things from the past and over-hearings. In her effort to find that elusive something which makes an object desirable and somewhat ‘magical’ she explores different media and techniques in both two and threedimensions. Fabrics, the way they fade, carry scents and act as memory aids fascinate Betty. The recycling of old garments and fabric has become an important part of her work.
Dates Exhibited at LGAC: • 0 7th November - 24th December 2009: Once Upon a Time • 5th July – 30th August 2008 – Jewellery Showcase
The Picture Wall, Thomas Rathmell, Oil on Canvas 1977, Purchased from Llantarnam Grange Arts Centre, 1977 Reproduced with permission of Newport Museum and Art Gallery
Thomas Rathmell 1912 – 1996 Born in Wallasey, Cheshire; he studied
an exhibitor in Llantarnam Grange Arts
at Liverpool School of Art and the Royal
Centre’s inaugural exhibition in 1966
College of Art.
Rathmell later settled
in Wales working as the Head of Fine Art at Newport College of Art where he eventually became Vice-Principal (194972). His paintings are figurative. He was a member of the Welsh Group and the Watercolour Society of Wales; he also had a solo exhibition which toured Wales in 1956. In 1969 he was commissioned by the Welsh Office to depict the Investiture of the Prince of Wales. Tom Rathmell , along with John Wright was
Dates exhibited at LGAC: • 30th April - 14th June 1966: Two Artists • 1 5th October - 29th October 1977: Tom and Lilian Rathmell • 28th November - 11th December 1982: Three Painters
The Peaches , John Selway  2004, Dylan Thomas Series, watercolour
John Selway Was part of the golden generation at the
near Doncaster, he has lived and worked in
Royal College of Art that included Pop Art
Abertillery ever since his parents decided
luminaries such as Derek Boshier, David
to return home to Wales in 1940.
Hockney, and Alan Jones.
Following
graduation Selway immediately set about pursuing his own artistic agenda; always working from memory, he has ventured far and wide in search of suitable subject matter. His work is said to flirt with abstraction, be inspired by literature, be a response to landscape and have a continual undercurrent referencing the human condition. He was born to Welsh parents in the small south Yorkshire colliery town of Askern,
Dates exhibited at LGAC: • 04th February - 18th February 1978: John Selway • 1 8th September - 30th October 2004: Another Kind of Eden • 25th January - 15th March 2014: 56 Group • 26th July - 20th September 2014: Fourteen • 28th March - 09th May 2015: Trans Iberia
‘Check II’, Laura Thomas, cotton encapsulated in acrylic resin
Laura Thomas Laura Thomas is an established woven textile artist and designer specialising in producing striking textile artworks for public spaces, corporate environments, exhibitions and private homes. These can either be commissioned directly from the studio or purchased through a number of galleries. Striving to push the expected boundaries of woven textiles, Laura welcomes collaboration with architects, interior designers and other creative practitioners on projects for the commercial or conceptual sphere.
Dates exhibited at LGAC: • 1 0th January - 07th March 2009: Ffibr - Form and fusion • 19th March - 07th May 2011: Makers to Curators • 26th July - 20th September 2014: Fourteen
Untitled , Ernest Zobole, Pastel, LGAC Permanent collection
Ernest Zobole 1927 – 1999 A Welsh painter and art teacher, Ernest Zobole’s paintings were initially oil on canvas but he later switched to oil on board; his subject matter reflected the industrial setting of the Rhondda Valleys where he grew up. He was born to Italian immigrants who had moved to Wales in 1910. Ernest spent five years training at the Cardiff College of Arts, where he and five other students became known as the Rhondda Group and were at the forefront of an important art movement in South Wales.
Dates Exhibited at LGAC: • 28th April - 12th May 1973: A Four Man Show • 2 5th November 1991 - 10th January 1992: Paintings 1986 - 1991
Novie Trump, Arlington residency 2008
‘From Adams to Zobole’ A Llantarnam Grange Arts Centre Exhibition. Design: Hillview Design Published by Llantarnam Grange Arts Centre. Text LGAC 2014 Llantarnam Grange Arts Centre St.David’s Road Cwmbran Torfaen NP441PD T: +44(0)1633 483321 E: info@lgac.org.uk W: www.lgac.org.uk Llantarnam Grange Arts Centre is part of the Arts Council of Wales portfolio of Revenue Funded Organisations. Registered Charity no: 1006933 Company Limited by Guarantee no: 2616241 Llantarnam Grange Arts Centre is funded by the Arts Council of Wales, Torfaen County Borough Council and Monmouthshire County Council. This publication may not be reproduced in whole or in part in any form without written permission from the publisher.