We are increasingly proud and excited, that our annual graduate exhibition Portal, continues to support emerging artists. Since 2009, Llantarnam Grange has been committed to increasing the confidence, and knowledge, that each new graduate requires to make a life as a creative.
From personal experiences, we know how tough it can be in the industry and how isolating ‘going it alone’ can feel. We hope to offer a support network, advice and a place where artists can feel valued.
As Exhibitions Officer, I am very aware that without the amazing artists (emerging and established) that collaborate with us, we wouldn’t be much of an arts organisation. This is why I stress the fact that we are here for artists, from professional advice to a friendly creative chat.
This year Portal feels even more vibrant than before. A creative celebration. There is a sense of urgency and excitement, to share art that was created in such an unprecedented time. With disruptions to every aspect of life, many students were denied access to studios and workshops, threatening their development.
Keeping this in mind, I am overwhelmed by the quality of work showcased in Portal. A round of applause to everyone, for the tenacity shown in a time where being creative, was either a productive escape for the mind, or a source of pressure to create art on ‘gifted’ time.
Savanna Dumelow Exhibitions Officier Llantarnam GrangePortal is our annual group exhibition of graduate artists and makers that aims to demystify working in the arts. By giving new voices support, tools, and the opportunity to develop skills, Portal reaches beyond the gallery walls to give emerging artists the best possible start for forging sustainable careers.
Through a constellation of practices that range from painting, photography, soft sculpture, metal work, digital media, ceramics, and textiles, Portal 2022 showcases a collection of 15 of this year’s graduates. With artists from local institutions such as Cardiff Met, Coleg Gwent, and Hereford College of Arts, to further afield, including Ruskin School of Art, Oxford and Gray’s School of Art, Aberdeen. We hope that this exhibition captures the energy that is coming out of art schools throughout the UK.
The work on display explores the multiple ways we construct, and deconstruct, ourselves, as well as how we can connect, and rebuild our connections, with our surroundings.
Through reflecting on how our identity is shaped by daily life, storytelling and societal expectations, these artists have considered how screens, imaginative play, personal histories, football, and experiences of motherhood and masculinity continue to impact our sense of self.
Moving beyond the individual, other work looks outwards, seeking to form meaningful relationships with our environment through acquiring lost knowledge, inhabiting bio-virtual landscapes, connecting to the soil, and consciously using biodegradable materials.
These concerns suggest a level of care and introspection that are perhaps a result of the isolation we have separately experienced over the last two years, combined with an urgent need to be part of, rather than in conflict with, the natural world.
Ruskin School of Art, University of Oxford, BFA Fine Art
Alice cares about the connection between people and the landscapes that surround them. She imagines that every patch of earth is someone’s special place, and she would love to introduce you to hers.
Her piece ‘Knitted Fields’ is created looking outwards from a domestic position, a woman viewing farmland that she will be the first female to inherit, but feeling incapable of managing it with the tools provided. With the help of her relatives, she crafts her own. Alice is a graduate from the Ruskin School of Art, and is developing a craft and print based practice that explores her rural northern heritage.
Above: The Mile-Long Lane, As Measured By My Body, 2022
Right: Knitted Fields, 2022
Annie believes that it is important to rebuild our lost knowledge of the natural world. She views making as a way to consciously and creatively engage in this process.
Annie is exploring how we can re-establish a connection between the body and the environment to repair our relationship to both of these things. This work is intended to recreate the feeling of calm and bodily awareness that is so present in wild swimming. It expresses the moment of entering cold water - prickling on the skin and pressure in the chest from a shocked intake of breath.
Left, above: Keeper’s Pond, November, 2022
Left, below: Water drawings, 2022
Above: Keeper’s Pond, November, 2022
As a documentary photographer, Anthony is forever fascinated by the world around him, capturing a moment in an image and telling a story with his work.
Anthony’s main area of focus is Wales and Welsh culture. His work ranges widely. From documenting rural life in the small village of his youth, the everyday life of our towns and capital city and finally to Wales on the world stage. The images on display are part of the work generated during his Wal Goch final year project at Coleg Gwent.
Right, above: Gwlad. Fans immersed in singing the national anthem, 2022
Right, below: Raised fists. Fans raise their fists during the match, 2022
Above: Second half. Fans walking the steps for the second half, 2022
Cardiff Metropolitan University, MA Fine Art
As a painter Beth is fascinated by the identity that we create for ourselves and the way it differs, but also weaves into the one that is created for us, by external factors within our lives and how this affects the way we relate to others.
Her recent paintings explore how the digital age has deconstructed the way we perceive others. Through screens we receive all our answers to life’s questions, shaping our social and moral views. Beth wants to draw attention to the ways in which human thought and behaviour is shaped by our relationship with screens.
Left: Memory Circled by Crows, 2022
Above: Martyr with All Seeing Eyes, 2022
Emily Brooks Millar is a visual artist based in Glasgow, Scotland, whose work primarily focuses on British and American political issues. Her work utilises a tongue in cheek and often satirical style, where dark humour is always used to explore a subject.
This work is part of the project Butchered. Each piece mutually investigates the relationships within farming, depersonalisation, and the common cultural depiction of women. Emily aims to provoke conversation surrounding objectification, harm, and violence through innocent and humorous characters, such as soft sculptures.
Right: Blobby Bunny, 2022
Above: Leftovers, 2022
Emma Caldow is a Scottish Artist, based in Achiltibuie. She works across Fine Art, Environmentalism and Material Science to dismantle and sustainably reassemble the ‘Image’.
Emma’s ongoing work, ‘The Anthroposcene’, explores the material potential of Shell and Seaweed within Fine Art Practise. By gathering matter from Scottish Beaches, she creates site responsive ‘Material Images’ of the Anthroposcenic Landscape. The ‘Material Images’ are inherently biodegradable and marine degradable and can be safely returned to the environments that they originate from. ‘The Anthroposcene’ establishes Fine Art as Sustainable Innovation.
Left: Achmelvich Beach, 2022
Above: Found Plastiglomerate III, 2022
Eunice’s creative practice is about exploring memories and experiences in life, trying to capture moments in time using mixed media, with a heavy emphasis on paper and stitch.
Using layers and shapes, often abstract in nature, she works on a round canvas, creating colourful representation of this exploration of narrative around memory, identity and places. Eunice prefers to metaphorically and symbolically represent her outcomes, as she seeks to portray ideas, feelings and concepts.
This work was inspired by motherhood, her own experiences and conversations through workshops with other women which contributed to a wider voice of sharing and responding to experiences around motherhood.
Right, top to bottom: Taking Flight, Spinning Plates, Seasons, 2022
Above: Workshop documentation, 2022
Hannah’s work explores the reasons why objects which display the marks of use and age have a particular resonance for many of us.
In particular she examines the themes of Collecting, Curating and Preservation, the impermanence of all matter, and the concept of ‘becoming’. As all matter is constantly in the state of ‘becoming’ something else, old, and used objects hold the narrative of that process. As individuals we are able to add to that narrative, and therefore we have a need to interact with those objects.
Left: Presence and Absence II, 2022
Above: Becoming II, 2022
University of South Wales (Merthyr College Campus)
Jake Quinlan’s paintings are abstract representations of architectural destruction, experimenting with the boundaries of paint as a medium.
The anarchistic mindset found in Punk music, and the violent nature of Heavy-Metal, are directly impactful on his application of paint, capturing the actions of the process of the painting’s evolvement.
Jake observes various industrial properties that surround his world and translate them into abstract formations that construct his compositions. The paintings contain vast amounts of impasto, drawing attention to the textures seen in architectural destruction, which is added as a conscious effort to trick the understanding of how we perceive colour.
Right: Burning Shire, 2022
Above: Senza Futoro, 2022
Setting out to develop a practice with flourishing as his primary intent, Matthew’s work engages with clay soil as a medium, focusing on three distinct themes; wellbeing, making, and sharing, explored through sensitive interventions.
Working en plain air Matthew produces open and closed artefacts, embedding narratives through direct indexing of forms and the burning of foraged organic matter during the firing process. Sharing making is explored through pinch pot workshops, engaging in raw clay soil. Here he finds communal well-being through making, leading to profound shifts of personal perspectives and approaches to material engagement.
Far left: Fired Netherwood Pinch pot, raw clay soil, wood fired.
Left: Ynyslas Knot, August 2022, Ynyslas, Ceredigion, foraged clay and sand.
Above: Netherwood Pinch pots firing inside a hand-made clay oven.
These two sculptures represent the harmful, unrealistic, and outdated principles of masculinity. The pieces are centred around familial pressure ‘being the man of the house,’ and emotional suppression, ‘boys don’t cry’.
Inspired by their own experiences and the abstract expressionist movement and artists, Max’s art demonstrates the emotions that stem from expectations of being masculine and the social pressure from those who perpetuate these negative stereotypes, with the aim of making art that was authentically expressing emotions.
Right: Pressure, 2022
Above: Supression, 2022
Ren’s work is a celebration and exploration of imaginative play. Through their practice Ren excavates their own childhood memories and examines our relationships with self and reality.
Ren is influenced by a varied well of inspiration including medieval manuscript illustrations, puppetry, folk ritual, and theatre. From this springboard Ren creates informal and joyous pieces that revel in their handmade-ness and tempt curiosity with fragmented narratives. The work functions not only as separate pieces in conversation with a central theme, but as an ever-expanding world of interrelated characters and stories that defiantly eschew elitism in favour of humour and heart.
Left: Theatre close up (kettle), 2022
Above: Croc Costume, 2022
Cardiff Metropolitan University, BA (Hons) Fine Art
Spencer Fritter, BA (Hons) is a multimedia artist born in Cwmbran, South Wales. Their practice utilises open-source software to create a series of speculative fiction entitled “KĦopraxia” — a vast narrative “landscape” rooted in the never-ending pursuit of the Digital Infinite.
Fritter’s practice seeks to explore the evolution of the hybridic, bio-virtual consciousness as it may someday come to be. Themes of disembodiment, transhumanism, grief, religiosity, greed, and personhood saturate the narratives, infesting the philosophical landscape with humanistic traces of a long-abandoned physical existence.
Right: Static Infe/c/stat/tion, 2021
Above: : **new:age:prophecy:window** 2021
Stefanie’s work explores the stories we tell and the impact they have on our idea of Self. She is curious how repetitive telling changes our relationship to our own history.
Why do we choose the stories we do? What happens if we release certain stories in exchange for others? If we distil them down to their barest parts—will they be more or less effective in creating connection? Exploring these questions, Stefanie looks to her own history and memories. Using clay, she looks to the mechanisms of myth and symbol to disseminate her stories and examine how these tellings impact her identity and connection with others.
Left: What remains, 2022
Above: When you saw what wasn’t there, 2022
‘Jet_Vessel’ is the creation of designer maker Tom Hancock who fuses traditional studio craft and industrial manufacturing.
Tom begins by turning a wooden former, then collaborates with specialist metal spinners to shape aluminium into individual vessel components and embedding the grain texture of the wood into the surface of the material. The colourful finish is achieved by following the same principles as industrial auto body painting. Tom applies multiple paint layers and carefully polishes them back by hand to reveal the natural texture of the wood grain, the unique makers marks and the vibrant combination of colours.
Right: Jet_Vessel, 2022
Above: Jet_Vessel (detail), 2022
Portal 2022
A Llantarnam Grange Exhibition
Published by Llantarnam Grange ©LG 2022
Llantarnam Grange is a part of Arts Council Wales ‘Arts Portfolio Wales’ Registered Charity no: 1006933. Company Limited by Guarantee no: 2616241
Llantarnam Grange is funded by the Arts Council of Wales and Torfaen County Borough Council.
This publication may not be reproduced in whole or in part in any form without written permission from the publisher.
With thanks to:
Guest selectors Niamh O’Dobhain, Gold Maria Akanbi. Arts Council of Wales and Torfaen County Council.
Llantarnam Grange St David’s Road, Cwmbran Torfaen, NP44 1PD 01633 483321 llantarnamgrange.com
Mae’n destun balchder a chyffro cynyddol i ni fod ein harddangosfa flynyddol i raddedigion, Portal, yn parhau i gefnogi artistiaid newydd. Ers 2009, mae Llantarnam Grange wedi bod yn ymrwymedig i roi hwb i’r hyder a’r wybodaeth sydd eu hangen ar bob un o’r myfyrwyr graddedig newydd er mwyn mynd ymlaen mewn bywyd fel person creadigol.
O brofiadau personol, rydyn ni’n gwybod pa mor anodd y gall fod yn y diwydiant a pha mor unig y gall rhywun sy’n ‘mentro ar ei ben ei hun’ deimlo. Ein gobaith yw cynnig rhwydwaith cymorth, cyngor a man lle gall artistiaid deimlo eu bod yn cael eu gwerthfawrogi.
Fel Swyddog Arddangosfeydd, rwy’n ymwybodol iawn na fyddem yn sefydliad celfyddydol gwerth ein halen heb yr artistiaid anhygoel (newydd a sefydledig) sy’n cydweithio â ni. Dyna pam rwy’n pwysleisio’r ffaith ein bod ni yma i artistiaid, o gynnig cyngor proffesiynol i sgwrs greadigol gyfeillgar.
Eleni mae Portal yn teimlo’n fwy bywiog nag erioed o’r blaen. Dathliad creadigol. Mae ‘na ymdeimlad o frys a chyffro, i rannu celf gafodd ei chreu mewn cyfnod mor ddigynsail. Gyda’r tarfu a fu ar bob agwedd ar fywyd, ni fu modd i lawer o fyfyrwyr gael mynediad i stiwdios a gweithdai, a hyn yn ei dro yn fygythiad i’w datblygiad.
Gan gadw hyn mewn cof, mae ansawdd y gwaith a arddangosir yn Portal yn fy syfrdanu. Llongyfarchiadau i bawb, am y dycnwch a ddangoswyd mewn cyfnod lle roedd bod yn greadigol, naill ai’n ddihangfa gynhyrchiol i’r meddwl, neu’n ffynhonnell o bwysau i greu celf mewn amser ‘ar fenthyg’.
Savanna Dumelow Swyddog Arddangosfeydd Llantarnam Grange
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Portal yw ein harddangosfa grwp blynyddol o artistiaid a gwneuthurwyr sy’n raddedigion sy’n ceisio codi cwr y llen ar weithio yn y celfyddydau. Drwy gynnig cefnogaeth, offer, a’r cyfle i leisiau newydd ddatblygu eu sgiliau, mae Portal yn ymestyn y tu hwnt i furiau’r oriel i roi’r dechrau gorau posibl i artistiaid newydd ar gyfer creu gyrfaoedd cynaliadwy.
Drwy gyfrwng detholiad o arferion sy’n amrywio o baentio, ffotograffiaeth, cerflunio meddal, gwaith metel, cyfryngau digidol, cerameg, a thecstilau, mae Portal 2022 yn arddangos casgliad gan 15 o raddedigion eleni. Gydag artistiaid o sefydliadau lleol fel Met Caerdydd, Coleg Gwent, a Choleg Celfyddydau Henffordd, a thu hwnt, gan gynnwys Ysgol Gelf Ruskin, Rhydychen ac Ysgol Gelf Gray’s, Aberdeen, ein gobaith yw bod yr arddangosfa hon yn cyfleu’r egni sydd yn dod allan o ysgolion celf ledled gwledydd Prydain.
Mae’r gwaith sy’n cael ei arddangos yn archwilio’r ffyrdd niferus rydyn ni’n creu ac yn dad-greu ein hunain, yn ogystal â sut gallwn ni gysylltu, ac ailadeiladu ein cysylltiadau, â’n hamgylchfyd.
Drwy fyfyrio ar sut mae ein hunaniaeth yn cael ei siapio gan fywyd bob dydd, adrodd straeon a disgwyliadau cymdeithasol, mae’r artistiaid hyn wedi ystyried sut mae sgriniau, chwarae dychmygus, hanesion personol, pêl-droed, a phrofiadau o famolaeth a gwrywdod yn parhau i effeithio ar ein synnwyr ni o’n hunan. Gan symud y tu hwnt i’r unigolyn, mae gwaith arall yn edrych tuag allan, gan geisio ffurfio perthynas ystyrlon â’n hamgylchedd drwy gaffael gwybodaeth goll, byw mewn tirweddau bio-rhithwir, cysylltu â’r pridd, a defnyddio deunyddiau bioddiraddadwy mewn ffordd ymwybodol.
Mae’r pryderon hyn yn awgrymu lefel o ofal a hunanymholiad sydd efallai’n dod yn sgil yr unigrwydd rydyn ni wedi’i brofi ar wahân dros y ddwy flynedd ddiwethaf, ynghyd ag angen dybryd i fod yn rhan o’r byd naturiol, yn hytrach nag mewn gwrthdaro ag ef.
Ruskin School of Art, University of Oxford, BA (Anrh) Crefftau Dylunio Cyfoes
Mae’r cysylltiad rhwng pobl a’r tirweddau o’u cwmpas yn bwysig i Alice. Mae’n dychmygu bod pob llain o ddaear yn lle arbennig i rywun, a byddai wrth ei bodd yn eich cyflwyno chi i’w un hi.
Mae ei darn ‘Knitted Fields’ wedi ei greu gan edrych am allan o safbwynt domestig, menyw yn edrych ar dir amaeth y bydd hi y fenyw gyntaf i’w etifeddu, ond yn teimlo na all wneud hynny gyda’r celfi a ddarparwyd. Gyda help ei pherthnasau, mae’n gwneud ei rhai hi ei hun. Mae Alice wedi graddio o Goleg Celfyddyd Ruskin, ac yn datblygu practis seiliedig ar grefftau a phrintiau sy’n ystyried ei threftadaeth ogleddol wledig.
Uchod: The Mile-Long Lane, As Measured By My Body, 2022
Dde: Knitted Fields, 2022
Mae Annie’n credu ei bod yn bwysig ailadeiladu ein gwybodaeth golledig am y byd naturiol. Mae’n ystyried bod gwneud yn ffordd o ymgysylltu’n ymwybodol ac yn greadigol â’r broses hon.
Mae Annie yn archwilio sut gallwn ailsefydlu cysylltiad rhwng y corff a’r amgylchedd i atgyweirio ein perthynas â’r ddau beth hyn. Nod y gwaith hwn yw ail-greu’r teimlad o dawelwch ac ymwybyddiaeth gorfforol sydd mor bresennol yn ystod nofio gwyllt. Mae’n mynegi’r foment wrth fynd i mewn i ddwr oer – y pigo ar y croen a’r pwysau yn y frest oherwydd yr ysgytwad wrth fewnanadlu.
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Chwith, uchod: Keeper’s Pond, November, 2022
Chwith, isod: Water drawings, 2022
Uchod: Keeper’s Pond, November, 2022
Fel ffotograffydd ffilmiau dogfen, mae Anthony bob amser yn cael ei gyfareddu gan y byd o’i gwmpas, gan gipio ennyd mewn delwedd a dweud stori drwy ei waith.
Prif ffocws Anthony yw Cymru a diwylliant Cymru. Mae ei waith yn amrywio’n eang – o ddogfennu bywyd gwledig ym mhentref bychan ei ieuenctid, a bywyd bob dydd ein trefi a’n prif ddinas, i Gymru ar lwyfan y byd. Mae’r delweddau a arddangosir yn rhan o’r gwaith a gynhyrchwyd yn ystod y Wal Goch, ei brosiect blwyddyn derfynol yng Ngholeg Gwent.
Dde, uchod: Gwlad. Fans immersed in singing the national anthem, 2022
Dde, isod: Raised fists. Fans raise their fists during the match, 2022
Uchod: Second half. Fans walking the steps for the second half, 2022
Cardiff Metropolitan University, MA Celfyddyd Gain
Fel arlunydd, caiff Beth ei chyfareddu gan yr hunaniaeth a grëwn ar gyfer ein hunain a’r ffordd mae’n wahanol, ond hefyd yn cydblethu â’r un a gaiff ei chreu ar ein cyfer gan ffactorau allanol yn ein bywydau, a sut mae hyn yn effeithio ar y ffordd rydym yn perthnasu ag eraill.
. Mae ei phaentiadau diweddar yn archwilio sut mae’r oes ddigidol wedi datgymalu’n canfyddiad o bobl eraill. Trwy sgriniau, rydym yn derbyn ein holl atebion i gwestiynau bywyd, maent yn llywio ein safbwyntiau cymdeithasol a moesol. Mae Beth eisiau tynnu sylw at y ffyrdd y mae meddwl ac ymddygiad dynol yn cael ei lywio gan ein perthynas â sgriniau.
Chwith: Memory Circled by Crows, 2022
Uchod: Martyr with All Seeing Eyes, 2022
University of Strathclyde, Hanes Meddyginiaethol gan ddefnyddio Arferion Hanes Llafar
Mae Emily Brooks Millar yn artist gweledol sy’n byw yn Glasgow, Yr Alban, ac mae ei gwaith yn canolbwyntio’n bennaf ar faterion gwleidyddol Prydeinig ac Americanaidd. Mae ei gwaith yn defnyddio arddull tafod mewn boch a dychanol yn aml, lle mae hiwmor tywyll yn cael ei ddefnyddio i ystyried pwnc.
Rhan o’r prosiect Butchered yw’r gwaith hwn. Mae pob darn yn ystyried y cydberthnasau o fewn ffermio, dadbersonoli, a’r portread diwylliannol cyffredin o fenywod. Nod Emily yw sbarduno sgwrs am wrthrycholiad, niwed a thrais drwy gyfrwng cymeriadau diniwed a digrif, megis cerfluniau meddal.
Dde: Blobby Bunny, 2022
Uchod: Leftovers, 2022
Mae Emma Caldow yn Artist Albanaidd, sy’n byw yn Achiltibuie. Mae’n gweithio mewn Celfyddyd Gain, Amgylcheddaeth a Gwyddor Deunyddiau i ddatgymalu ac ail-gyfosod y ‘Ddelwedd’ yn gynaliadwy.
Mae gwaith parhaus Emma, The Anthroposcene, yn archwilio potensial deunydd fel Cragen a Gwymon mewn Ymarfer Celfyddyd Gain. Trwy gasglu deunydd o Draethau’r Alban, mae’n creu ‘Delweddau Deunydd’ o’r Dirwedd Athropo-olygfaol sy’n ymatebol i safle. Mae’r ‘Delweddau Deunydd’ yn hanfodol fioddiraddadwy ac yn forol ddiraddiadwy, a gellir eu dychwelyd yn ddiogel i’r amgylcheddau maent yn tarddu ohonynt. Mae ‘The Anthroposcene’ yn sefydlu Celfyddyd Gain fel Arloesedd Cynaliadwy.
Chwith: Achmelvich Beach, 2022
Uchod: Found Plastiglomerate III, 2022
Gray’s School of Art, BA (Anrh) Peintio
Mae ymarfer creadigol Eunice yn ymwneud ag archwilio atgofion a phrofiadau mewn bywyd, gan geisio cipio enydau mewn amser yn defnyddio cyfryngau cymysg, gyda phwyslais mawr ar bapur a phwyth.
Gan ddefnyddio haenau a siapiau sydd yn aml yn haniaethol eu natur, mae’n gweithio ar gynfas crwn, gan greu darluniad lliwgar o’r archwiliad hwn o naratif seiliedig ar atgof, hunaniaeth a lleoedd. Mae’n well gan Eunice gyfleu ei chanlyniadau’n drosiadol a symbolaidd wrth iddi geisio portreadu syniadau, teimladau a chysyniadau.
Ysbrydolwyd y gwaith hwn gan famolaeth, a’i phrofiadau a’i sgyrsiau personol mewn gweithdai gyda menywod eraill, a gyfrannodd at lais ehangach o rannu ac ymateb i brofiadau yn ymwneud â mamolaeth.
De, o’r pen i’r gwaelod: Taking Flight, Spinning Plates, Seasons, 2022 Uchod: Workshop documentation, 2022
Hereford College of Arts, BA (Anrh) Crefftau Dylunio Cyfoes
Mae gwaith Hannah yn archwilio’r rhesymau pam fod gwrthrychau sy’n dangos marciau defnydd ac oedran yn atseinio’n arbennig i lawer ohonom.
Yn benodol, mae’n ystyried y themâu Casglu, Curadu a Chadwraeth, byrhoedledd pob sylwedd, a’r cysyniad o ‘ddod yn’. Gan fod pob sylwedd mewn cyflwr parhaus o ‘ddod yn’ rhywbeth arall, mae gan hen wrthrychau wedi’u defnyddio yr un naratif o’r broses honno. Fel unigolion gallwn ychwanegu at y naratif hwnnw, ac felly mae gennym yr awydd i ryngweithio â’r gwrthrychau hynny.
Chwith: Presence and Absence II, 2022
Uchod: Becoming II, 2022
Mae paentiadau Jake Quinlan yn ddarluniadau haniaethol o ddinistr pensaernïol, sy’n arbrofi â therfynau peintio fel cyfrwng.
Mae’r meddylfryd anarchaidd a geir mewn cerddoriaeth Pync, a natur dreisgar Metel Trwm, yn effeithio’n uniongyrchol ar ei ddefnydd o baent gan gipio camau’r broses esblygu yn y paentiad.
Mae Jake yn arsylwi ar yr amrywiol briodweddau diwydiannol sy’n amgylchynu ei fyd ac yn eu trosi’n ffurfiannau haniaethol sy’n llunio’i gyfansoddiadau. Mae’r paentiadau’n cynnwys defnydd helaeth o impasto, gan dynnu sylw at y gweadau a welir mewn dinistr pensaernïol, ac a ychwanegir fel ymdrech ymwybodol i dwyllo’r ddealltwriaeth o sut rydym yn canfod lliw.
Dde: Burning Shire, 2022
Uchod: Senza Futoro, 2022
Gyda’r nod o ddatblygu ymarfer sy’n llewyrchus yn bennaf oll, mae gwaith Matthew yn ymhél â phridd clai fel cyfrwng, gan ganolbwyntio ar dair thema wahanol: lles, gwneud, a rhannu, a archwilir trwy ymyriadau sensitif.
Gan weithio yn yr awyr agored, mae Matthew yn cynhyrchu arteffactau agored a chaeedig, gan fewnblannu naratifau trwy fynegeio ffurfiau’n uniongyrchol a llosgi defnydd porthiant organig yn ystod y broses danio. Mae’n archwilio gwneud a rhannu trwy weithdai potiau pinsio, gan ddefnyddio pridd clai amrwd. Yma mae’n cael ymdeimlad o les cymunedol trwy wneud, sy’n arwain at newidiadau sylweddol mewn persbectifau personol ac ymagweddau at ddefnyddio deunydd.
Chwith pell: Potyn Pinsio Netherwood wedi’i danio, pridd clai amrwd, wedi’i grasu â thân.
Chwith: Cwlwm Ynyslas, Awst 2022, Ynyslas, Ceredigion, clai a thywod wedi’u fforio.
Uchod: Potiau Pinsio Netherwood yn cael eu crasu mewn popty clai wedi’i wneud â llaw.
Mae’r ddau gerflun hyn yn cynrychioli egwyddorion niweidiol, afrealistig a hen ffasiwn gwrywdod. Mae’r darnau’n canolbwyntio ar y pwysau teuluol i ‘fod yn feistr y ty’, a’r gostegu emosiynol mewn, ‘dydy bechgyn ddim yn crïo’.
Ysbrydolwyd Max gan ei brofiadau personol a’r mudiad a’r artistiaid mynegiadol haniaethol, ac mae ei gelf yn dangos yr emosiynau sy’n ymgodi o’r disgwyliadau i fod yn wrywaidd, a’r pwysau cymdeithasol gan y rhai sy’n bytholi’r stereoteipiau negyddol hyn, gyda’r nod o greu celf sydd yn mynegi emosiynau’n ddilys. ^
Dde: Pressure, 2022
Uchod: Supression, 2022
Mae gwaith Ren yn ddathliad ac yn archwiliad o chwarae dychymygus. Trwy eu hymarfer, mae Ren yn datgloddio’u hatgofion personol o blentyndod ac yn ystyried ein perthnasoedd â’r hunan a realiti.
Mae ffynnon amrywiol o ysbrydoliaeth yn dylanwadu ar waith Ren, yn cynnwys y darluniau mewn llawysgrifau o’r Canol Oesoedd, pypedwaith, defodau gwerin, a theatr. Mae’r sbardunau hyn yn galluogi Ren i greu darnau anffurfiol a llawen sy’n ymhyfrydu yn y ffaith mai gwaith llaw ydynt ac sy’n ennyn chwilfrydedd drwy eu naratifau tameidiog. Mae’r gwaith yn gweithredu nid yn unig fel darnau ar wahân mewn sgwrs ar thema ganolog, ond hefyd fel byd sy’n ehangu’n barhaus o gymeriadau a storïau cydberthnasol sy’n osgoi elitaeth yn herfeiddiol er budd hiwmor a chalon.
Chwith: Theatre close up (kettle), 2022
Uchod: Croc Costume, 2022
Cardiff Metropolitan University, BA (Anrh) Celfyddyd Gain
Mae Spencer Fritter, BA (Anrh), yn artist amlgyfryngau a anwyd yng Nghwmbrân, De Cymru. Mae eu hymarfer yn defnyddio meddalwedd cod agored i greu cyfres o ffuglen synfyfyriol o’r enw “KĦopraxia”” – sef “tirwedd” naratif anferth wedi’i gwreiddio yn yr ymchwil diderfyn am yr Anfeidrol Digidol.
Mae ymarfer Fritter yn ceisio archwilio esblygiad yr ymwybyddiaeth hybrydig, fio-rithiol fel ag y bydd rhyw ddiwrnod efallai. Mae themâu fel digorffoliad, trawsddynoliaeth, crefyddoldeb, galar, trachwant a phersoneiddiad yn trwytho’r naratifau, yn heigio’r dirwedd athronyddol â mymrynnau dyneiddiol o fodolaeth gorfforol hiradawedig.
Chwith: Static Infe/c/stat/tion, 2021
Uchod: **new:age:prophecy:window** 2021
^
Mae gwaith Stefanie yn archwilio’r storïau a adroddwn a’r effaith maent yn ei gael ar ein syniad o’r Hunan. Mae hi’n chwilfrydig ynglyn â sut mae dweud ailadroddus yn newid ein perthynas â’n hanes ein hun.
Pam ydyn ni’n dewis y storïau a ddewiswn? Beth sy’n digwydd os ydyn ni’n cyfnewid rhai storïau am rai eraill? Os byddwn yn eu distyllu i’w hesgyrn noeth – a fyddan nhw’n fwy neu lai effeithiol yn creu cysylltiad? Wrth archwilio’r cwestiynau hyn, mae Stefanie yn edrych ar ei hanes a’i hatgofion personol. Gan weithio gyda chlai, mae’n defnyddio mecanweithiau fel myth a symbol i ledaenu ei storïau ac archwilio sut mae’r adrodd hwn yn effeithio ar ei hunaniaeth a’i chysylltiad ag eraill.
Chwith: What remains, 2022
Uchod: When you saw what wasn’t there, 2022
Hereford College of Arts,BA (Anrh) Crefftau Dylunio Cyfoes
Jet_Vessel yw creadigaeth y dylunydd-wneuthurwr, Tom Hancock, sy’n cyfuno crefft stiwdio draddodiadol â chynhyrchu diwydiannol.
Mae Tom yn dechrau drwy durnio â ffurfydd pren, yna mae’n cydweithio gyda thurnwyr metel arbenigol i siapio alwminiwm yn gydrannau llestri unigol, ac yn mewnblannu gwedd graen y pren yn wyneb y deunydd. Mae’n cyflawni’r gorffeniad lliwgar drwy ddilyn yr un egwyddorion â pheintio cyrff ceir yn ddiwydiannol. Mae Tom yn gosod haenau niferus o baent ac yn eu caboli’n ofalus â llaw i ddangos gwedd naturiol graen y pren, marciau unigryw’r gwneuthurwr a’r cyfuniad cryf o liwiau.
Dde: Jet_Vessel, 2022
Uchod: Jet_Vessel (detail), 2022
Portal 2022
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