Suffrage Exhibition Catalogue by Llantarnam Grange

Suffrage

Yr Wyddor/Front cover: Morwenna Catt

Suffrage Morwenna Catt, Eleanor Edwardes, Caren Garfen, Rozanne Hawksley, Sue Shields, Ruth Singer

06.10.18 - 10.11.18

Noddir yr arddangosfa hon gan “Gynllun Grant Canmlwyddiant y Bleidlais i Fenywod 2018” Llywodraeth Cymru. This exhibition is supported by Welsh Government’s “Women’s Suffrage Centenary Grant Scheme 2018”

Media Meddles, Caren Garfen

Etholfraint | Introduction Gellir ystyried 1918 yn flwyddyn

1918 can be seen as a transformational

drawsffurfiol o ran y ffordd roedd

year in the way society was perceived

cymdeithas yn cael ei chanfod ac yn

and functioned here in the UK. Once

gweithio yma yn y DU. Nid oedd trefnau

accepted orders and social norms, no

a normau cymdeithasol sefydledig

longer reflected the aspirations of the

bellach yn adlewyrchu dyheadau

people. Europe had torn itself apart in

pobl. Roedd Ewrop wedi ei rhwygo’i

the “War to End All Wars”. Revolutionary

hun yn gareiau yn y “Rhyfel a Roddai

fervour began to sweep the continent

Derfyn ar Bob Rhyfel”. Dechreuodd

fuelled by political ideologies based

tanbeidrwydd chwyldroadol ysgubo

on the interpretations of Marx’s Das

drwy’r cyfandir, wedi ei fegino gan

Capital that shaped the radical political

ideolegau gwleidyddol seiliedig ar

consciousness.

ddehongliadau o Das Capital gan Marx a siapiodd yr ymwybod gwleidyddol

At the heart of the political demands

radicalaidd.

was fair and equal representation and 1918 was the first step towards the

Wrth galon y galwadau gwleidyddol

universal suffrage. The Representation

hyn roedd cynrychiolaeth deg a

of the People Act 1918 was an Act of

chyfartal a 1918 oedd y cam cyntaf i

Parliament that would reform our

gyfeiriad y bleidlais gyffredinol. Roedd

electoral system for ever. Although

Deddf Cynrychiolaeth y Bobl 1918 yn

the 1918 act did not bring universal

Ddeddf Seneddol a fyddai’n diwygio

suffrage, its changes did radically

ein system etholiadol am byth. Er na

enfranchise millions of people. For

wnaeth deddf 1918 gyflwyno’r bleidlais

the first time women aged over 30

gyffredinol, llwyddodd ei newidiadau i

could vote, as long as they resided in

etholfreinio miliynau o bobl yn radical.

the constituency and occupied land or

Am y tro cyntaf cafodd menywod dros

premises with a rateable value above

30 oed bleidleisio, cyhyd â’u bod yn

£5, or whose husbands did.

byw yn yr etholaeth ac yn meddiannu ar dir neu adeiladau gyda gwerth

It is remarkable to think that in 1918

ardrethol o £5 o leiaf, neu fod eu gwŷr

women in the UK still did not have

yn gwneud.

the right to vote in elections. Britain

Lady Rhondda, Sue Shields

Mae’r ffaith nad oedd gan fenywod

was lagging behind other countries,

yn y DU yr hawl i bleidleisio mewn

for example in 1893 New Zealand

etholiadau o hyd yn 1918 yn nodedig.

had become the first self-governing

Roedd Prydain ar ei hôl hi o gymharu

country to grant the vote to all women

â gwledydd eraill – er enghraifft, yn

over the age of 21.

1893 Seland Newydd oedd y wlad hunanlywodraethol

gyntaf

roi’r

bleidlais i bob menyw dros 21 oed.

Although,

the

Representation

the People Act 1918 gave the vote to women over the age of 30 who

Serch

hynny,

roedd

Deddf

met certain property qualifications.

Cynrychiolaeth y Bobl 1918 wedi

It would be a further decade before

rhoi’r bleidlais i fenywod dros 30

women gained electoral equality with

oed a oedd yn bodloni cymwysterau

men when the Representation of the

eiddo penodol. Byddai degawd arall

People (Equal Franchise) Act 1928 gave

yn mynd heibio cyn i fenywod ennill

all women the vote at age 21. As a

cydraddoldeb etholiadol â dynion, pan

result of this Act, the female electorate

roddodd Deddf Cynrychiolaeth y Bobl

became 8.5 million compared to 12.9

(Etholfraint Gyfartal) 1928 y bleidlais i

million men. The Act also created new

bob menyw dros 21 oed. O ganlyniad

electoral

i’r Ddeddf hon, daeth nifer yr etholwyr

making

benywaidd yn 8.5 miliwn o gymharu â

constituency the basis of the right

12.9 miliwn o ddynion. Hefyd, creodd

to vote, institutionalising the first

y Ddeddf hon drefniadau etholiadol

past the post method of election and

newydd, yn cynnwys pennu mai byw

rejecting proportional representation.

mewn etholaeth benodol oedd sail yr

Systems that have remained virtually

hawl i bleidleisio, defodi’r dull cyntaf

unchanged for 90 years.

arrangements, residence

including a

specific

i’r felin mewn etholiadau a chefnu ar gynrychiolaeth gyfrannol. Mae’r

Without the sacrifice, vision and

systemau wedi aros yn ddigyfnewid i

determination of those championing

bob pwrpas ers 90 mlynedd.

universal suffrage, members of the Women’s Social and Political Union,

Heb

aberth,

gweledigaeth

the suffragettes and suffragists and

phenderfyniad y rhai hynny oedd yn

individuals like Emily Pankhurst whose

eiriol dros bleidlais gyffredinol, aelodau

rallying motto of “deeds, not words”

Undeb Cymdeithasol a Gwleidyddol

showed that through force of action,

y Menywod, y swffragetiaid a’r swffra-

political

gwyr, ac unigolion fel Emily Pankhurst,

change can be brought to bear.

will

and

determination,

a ddangosodd drwy ei harwyddair nid

This exhibition celebrates those who

ddigwydd

went before us and changed the

drwy rym gweithredoedd, ewyllys

world. A radicalism that used the

gwleidyddol a phenderfyniad.

everyday object and domestic process

adfyddino,

“gweithredoedd,

geiriau” y

gall

newid

to give voice to their political struggle. Mae’r arddangosfa hon yn dathlu’r

Morwenna Catt, Eleanor Edwardes,

rhai a aeth o’n blaen ac a newidiodd

Caren Garfen, Rozanne Hawklsey, Sue

Shields, Ruth Singer are contemporary

ddefnyddiodd wrthrychau cyffredin

artists who continue a tradition of

a phrosesau domestig i roi llais i’w

expressing radical thought, challenging

byd.

Ffurf

radicaliaeth

brwydr wleidyddol. Mae Morwenna

and questioning the role of women

Catt, Eleanor Edwardes, Caren Garfen,

in society and illustrating gender

Rozanne

inequalities locally and globally.

Ruth

Hawklsey,

Singer

Sue

Shields,

artistiaid

cyfoes

sy’n parhau â’r traddodiad o fynegi syniadau

radical,

gan

rôl

menywod

chwestiynu

herio

mewn

cymdeithas ac enghreifftio anghydraddoldebau rhywedd yn lleol ac yn fydeang. Hywel Pontin

Awst 2018

Hywel Pontin

August 2018

Hacker, Eleanor Edwardes

Suffrage I ddathlu Canmlwyddiant y Bleidlais

To mark the Centenary of Women’s

i Fenywod rydym wedi gwahodd

Suffrage we have invited artists and

artistiaid a gwneuthurwyr i arddangos

makers to exhibit work which brings

gwaith sy’n dod â’r celfyddydau

the visual arts and politics discourse

gweledol ac ymdriniaeth wleidyddol

together. In the early 20th Century

at ei gilydd. Yn gynnar yn yr 20fed

women used skills learned at home to

ganrif byddai menywod yn defnyddio’r

give voice to their political struggle;

sgiliau a ddysgwyd yn y cartref i leisio’u

in aprons, ribbons and banners they

brwydr wleidyddol; drwy ffedogau,

visually propelled their calls for universal

rhubanau a baneri, hyrwyddont eu

suffrage to a wider audience. The use

galwad am bleidlais gyffredinol i

of textiles as a political metaphor and

gynulleidfa ehangach mewn ffordd

way of expressing radical thought has

weledol. Mae’r defnydd o decstilau fel

continued throughout the 20th and

trosiad gwleidyddol a ffordd o fynegi

21st Centuries.

syniadau radical wedi parhau drwy gydol yr 20fed a’r 21ain Ganrif.

The exhibition and supporting talks

Nod yr arddangosfa a’r sgyrsiau a’r

and workshops aim to celebrate the

gweithdai ategol yw dathlu natur

diverse nature of contemporary visual

amrywiol ymarfer celf weledol gyfoes

art practice and the role of women in

a rôl menywod mewn gwleidyddiaeth.

politics. By taking an art form associated

Trwy

sy’n

with the domestic environment there

gysylltiedig â’r amgylchedd domestig,

has been a visual circumvention of

llwyddwyd i gynnwys y dull o fynegi

this traditional means of expression.

traddodiadol

Mae’r

The work shows that artists can pose

gwaith yn dangos y gall artistiaid ofyn

philosophical and political questions

cwestiynau athronyddol a gwleidy-

and these can be presented in a way

ddol a gall y rhain gael eu cyflwyno

that draws on the audiences own

mewn ffordd sy’n tynnu ar brofiadau’r

experiences and encourages them to

cynulleidfaoedd eu hunain ac yn eu

reflect on their political journey.

ddefnyddio

ffurf

gelf

weledol.

hannog i fyfyrio ar eu taith wleidyddol. Until the 20th century the opportunity Tan yr 20fed ganrif roedd y cyfleoedd

for

women’s

self-expression

was

am hunanfynegiant gan fenywod yn

incredibly limited. Upper and middle-

hynod gyfyngedig. Byddai menywod

class women found some expression

dosbarth canol ac uchaf yn gallu

through

eu mynegi eu hunain i ryw raddau

embroidery, music and painting but

drwy ysgrifennu storïau a cherddi,

purely in a domestic setting, not to

brodwaith, cerddoriaeth a pheintio,

be done outside of a small family and

ond mewn cyd-destun domestig yn

social sphere. It would have been

unig, a byth y tu allan i’r cylch bach

shocking and un-feminine to exhibit

teuluol a chymdeithasol. Byddai eich

yourself to strangers. Jane Austen and

arddangos eich hun i bobl ddieithr

the Bronte sisters were some of the first

wedi cael ei ystyried yn arswydus ac yn

women to burst out of the domestic

anfenywaidd. Roedd Jane Austen a’r

sphere with their writings but came

chwiorydd Bronte yn rhai o’r menywod

up against huge opposition. As limited

cyntaf i ddianc o’r cylch domestig gyda’u

as the opportunities were for these

gweithiau ysgrifenedig, ond bu’n rhaid

women, working class women did

iddynt ddygymod â gwrthwynebiad

not have even these opportunities,

writing

stories,

poems,

Apron, Ruth Singer

ffyrnig. Ac er mor gyfyngedig oedd y

craft would have been almost purely

cyfleoedd ar gyfer y menywod hyn, ni

functional with knitting, basketwork

fyddai menywod dosbarth gweithiol

or clothes made and repaired at home.

yn gallu manteisio ar y rhain hyd yn

The paid work they were allowed to

oed. Byddai crefft wedi bod yn beth

do was also entirely done at home,

ymarferol bron yn ddieithriad, gyda

dressmaking, laundry etc until the

gwau, basgedwaith neu ddillad yn

industrial revolution when many went

cael eu gwneud a’u trwsio yn y cartref.

into factories and mills. This in turn led

Roedd unrhyw waith am dâl a ddaeth

to a huge de-skilling of the population

i’w rhan – gwniadwaith, golchi dillad ac

as cheap factory made products

ati – yn cael ei wneud yn y cartref yn unig

became available.

hefyd tan y chwyldro diwydiannol pan aeth llawer i weithio mewn ffatrïoedd

The Suffrage Movement which gathered

a melinau. Yn ei dro arweiniodd hyn at

strength in the early 20th century called

ddadsgilio’r boblogaeth yn helaeth wrth

for wider professional and educational

i gynhyrchion a wnaed yn rhad mewn

opportunities for women and criticised

ffatrïoedd ddod yn gyffredin.

the restrictions put on women in the name of femininity. They began to

Galwodd y Mudiad Etholfraint, a

employ the skills once entirely used at

ymgryfhaodd ym mlynyddoedd cynnar

home not to change art but to change

yr 20fed ganrif, am fwy o gyfleoedd

politics and society and women’s place

proffesiynol ac addysgol i fenywod a

in it. These women were considered

beirniadodd y cyfyngiadau a orfodwyd

radical for wanting to break away from

ar fenywod yn enw benyweidd-dra.

the domestic sphere, wanting to have

Dechreuont ddefnyddio’r sgiliau a

a say in their own destiny. But the

ddefnyddiwyd gynt yn y cartref yn unig,

prospect of being given a voice must

nid er mwyn newid celf ond i newid

have been intoxicating to all classes.

gwleidyddiaeth a chymdeithas a lle

Initially only those with property were

menywod ynddi. Ystyriwyd y menywod

given the vote but the aim was always

hyn yn radical am eu bod eisiau

for universal suffrage. They used what

ymwahanu oddi wrth y cylch domestig

they knew to express their opinions and

a chael llais yn eu tynged eu hunain.

spread the word. Textiles was really the

Ond mae’n rhaid bod y posibilrwydd

only medium they had access to, being

o gael llais wedi gwefreiddio’r holl

published in a book or newspapers

ddosbarthiadau. I gychwyn, dim ond

was virtually impossible. Since then

y rhai oedd yn meddu ar eiddo gawsai

the juxtaposition of the seemingly

bleidleisio, ond y nod bob amser oedd

delicate embroidery and needlework

ennill y bleidlais gyffredinol. Byddent

and hard political action has been used

yn defnyddio’u sgiliau i fynegi eu barn

again and again, with women all over

a lledaenu’r gair. Tecstilau oedd yr

the world reclaiming the domestic as

unig wir gyfrwng y gallent ei gyrchu,

a unique form of self-expression and

roedd cael cyhoeddi eich gwaith

political voice.

mewn llyfr neu bapurau newydd yn amhosibl i bob pwrpas. Ers hynny,

Banners were an established political

mae’r cyfosodiad rhwng brodwaith

tool of the trade unions etc but were

a nodwyddwaith sy’n ymddangos

usually made by professional firms.

yn gain a’r gweithredu gwleidyddol

The Suffragists created their own

caled wedi cael ei ddefnyddio dro ar

highly skilled banners, combining

Media Meddles, Caren Garfen (Detail)

ôl tro, gyda menywod ledled y byd

embroidery,

paint,

collage

and

yn adfeddiannu’r domestig fel ffurf

applique. This mixing of media was

unigryw o hunanfynegiant ac fel llais

both radical in an artistic sense but also

gwleidyddol.

was tactical to demonstrate women were capable of so much more than

Roedd baneri’n erfyn gwleidyddol

what was called the feminine arts. The

sefydledig gan yr undebau llafur ac ati

banners and aprons they produced

ond fel arfer byddent yn cael eu llunio

combined a picture with a simple

gan gwmnïau proffesiynol. Creodd y

message to create bold, colourful,

Swffragwyr eu baneri tra chrefftus eu

graphic displays of their ideas with no

hunain, gan gyfuno brodwaith, paent,

censorship. Slogans were short, simple,

collage ac appliqué. Roedd y cymysgu

strong and easy to read – DEEDS NOT

cyfryngau hwn yn radical yn y synnwyr

WORDS, NO VOTE NO TAX, DARE TO

artistig ond roedd hefyd yn dactegol

FREE, ASK WITH COURAGE. The use of

gan ddangos bod menywod yn alluog i

embroidery was also a cunning political

gyflawni cymaint mwy na’r hyn a elwid

move, it combatted the criticisms that

yn gelfyddydau benywaidd. Cyfunwyd

these activists weren’t ‘feminine’ but

llun â neges syml yn y baneri a’r ffedogau

also helped to embrace those women

a gynhyrchont i greu arddangosiadau

who may have been turned away from

beiddgar, lliwgar, graffig o’u syniadau,

the message as too radical.

heb unrhyw sensoriaeth. Roedd y sloganau’n fyr, yn syml, yn gryf ac yn

There were huge demonstrations in

hawdd eu darllen – GWEITHREDOEDD

London and across the country in

NID GEIRIAU, DIM PLEIDLAIS DIM TRETH,

the early part of the 20th century of

MEIDDIWCH RYDDHAU, GOFYNNWCH

both suffragists and the more militant

GYDA DEWRDER. Roedd y defnydd o

suffragettes. The banners they carried

frodwaith yn gam gwleidyddol cyfrwys

commemorated

hefyd – diddymodd y beirniadaethau

trades like shop assistants and factory

nad oedd y selogion hyn yn ‘fenywaidd’,

workers as well as important women

ond hefyd helpodd i gynnwys y

from throughout history - Queen

menywod hynny a fyddai wedi teimlo’n

Victoria, Boadicea, Marie Curie and

annifyr pe byddai’r neges yn rhy radical.

Britannia – the ironic use of the female

individual

groups,

Bu gwrthdystiadau anferth yn Llundain

allegorical figure representing a country

ac ar draws y wlad yn rhan gyntaf

which denied women the vote! The

yr 20fed ganrif gan y swffragwyr a’r

power of symbolism was also heavily

swffragetiaid mwy milwriaethus. Roedd

employed in the colours they chose to

y baneri a gariwyd ganddynt yn dathlu

represent their growing movement for

grwpiau unigol, crefftau fel gweithwyr

equality - purple symbolising dignity,

siop a gweithwyr ffatri, ynghyd â

white purity, and green hope.

menywod pwysig o bob cyfnod hanesol – y Frenhines Fictoria, Buddug,

The more militant protestors received

Marie Curie a Britannia – defnydd

very harsh treatment and faced mass

eironig o’r ffigwr alegorïaidd o fenyw

imprisonments. The hunger strikes

yn cynrychioli gwlad a wrthododd

were met with force feeding and

y bleidlais i fenywod! Defnyddiwyd

turned many of the early suffragettes

grym symbolaeth yn helaeth hefyd yn

into martyrs. This led to a unification

y lliwiau a ddewisont i gynrychioli eu

of many of the groups desirous of the

mudiad datblygol dros gydraddoldeb

parliamentary vote and the numbers

– y porffor yn symbol o urddas, y gwyn

protestors

swelled.

While

o burdeb, a’r gwyrdd o obaith.

Holloway prison many of the women created embroidered textile pieces as

Cafodd

mwy

a very personal way of resisting and

milwriaethus eu trin yn llym iawn

memorising their personal and political

gan wynebu cael eu carcharu’n llu.

struggle. Handkerchiefs were small and

Yr ymateb i’r streiciau newyn oedd

portable and often embroidered with

gorfodi’r menywod i fwyta gan droi

the signatures of those imprisoned,

llawer o’r swffragetiaid cynnar yn

a sign of solidary but also a nod to

ferthyron. O ganlyniad i hyn, unodd

traditions of political petitions and

llawer o’r grwpiau oedd yn galw am

y bleidlais seneddol a chwyddodd

commemorate events.

niferoedd

gwrthdystwyr

gwrthdystwyr.

embroidered

signatures

Tra

roeddent yng ngharchar Holloway,

In 1918 suffrage was gained for all

creodd llawer o’r menywod ddarnau

men over 21 and women over 30 with

o decstilau wedi’u brodio fel ffordd

property, it would be another ten

bersonol iawn o wrthsefyll ac o goffáu

years before there was finally universal

eu brwydr bersonol a gwleidyddol.

suffrage in Britain. The social norms

Roedd hancesi’n fach ac yn hawdd eu

began to change slowly but women

cario ac yn aml cawsant eu brodio â

were frustrated at the social constraints

llofnodion y carcharorion, yn arwydd

which still bound them. It was not until

o undod ond hefyd yn cydnabod

the late 1960s and 70s that women

traddodiadau deisebau gwleidyddol

finally began to see real change in

a’r defnydd o lofnodion wedi’u brodio

their personal, social and professional

i goffáu digwyddiadau.

lives. Art as always played a part in pushing for these changes and in the

Yn 1918 enillwyd yr etholfraint i

1970s women artists again used the

ddynion dros 21 a menywod dros 30

tension between the message and the

oedd yn meddu ar eiddo. Byddai deng

medium to make textiles as a form of

mlynedd arall yn mynd heibio cyn i’r

self-expression a feminist statement.

bleidlais gyffredinol gael ei chyflwyno

The breaking down of boundaries

ym Mhrydain. Dechreuodd y normau

between different forms of creative

cymdeithasol newid yn araf ond roedd

expression has gathered pace and

menywod yn cael eu rhwystro gan

the fluidity between art and craft is

y cyfyngiadau cymdeithasol a oedd

greater than it has ever been. Artists

yn eu rhwymo o hyd. Bu’n rhaid aros

today have extended embroidery and

tan ddiwedd yr 1960au a’r 70au cyn

textiles to encompass very personal

i fenywod ddechrau gweld newid

messages which speak of universal as

go iawn o’r diwedd yn eu bywydau

well as political messages.

personol, cymdeithasol a phroffesiynol. Fel bob amser, chwaraeodd celfyddyd

As a woman today it is unimaginable

ei rhan yn mynnu’r newidiadau hyn

that these freedoms were only realised

ac yn yr 1970au aeth arlunwragedd

a hundred years ago, our lives as

ati eto i ddefnyddio’r tyndra rhwng y

women are unrecognisable to those of

neges a’r cyfrwng i wneud tecstilau

our great grandmothers and what they

fel

would have expected from life. Across

mynegiant ffeministaidd. Mae’r broses

the world the majority of women do

o ddymchwel y ffiniau rhwng gwahanol

not enjoy the basic freedoms that we

ffurfiau

hunanfynegiant

ffurfiau ar fynegiant creadigol wedi

enjoy. These artists and their work

cyflymu

cyfnewidioldeb

make sure we do not forget how far

rhwng celf a chrefft yn fwy amlwg nag

we have come in a short period of time

erioed. Mae artistiaid heddiw wedi

but still how very far we have to go to

estyn brodwaith a thecstilau i gwmpasu

achieve true equality.

mae’r

negeseuon personol iawn sy’n cyfleu negeseuon cyffredinol ynghyd â rhai gwleidyddol. Fel menyw heddiw, mae’n anodd dychmygu mai dim ond can mlynedd sydd

wedi

mynd

heibio

ers

i’r

rhyddfreiniau hyn gael eu cyflawni. Mae ein bywydau fel menywod yn anadnabyddadwy o gymharu â rhai ein hen neiniau a’r hyn fyddent wedi

Louise Jones-Williams

October 2018

Womensâ&#x20AC;&#x2122; Protest March (detail) , Eleanor Edwardes

ei ddisgwyl o fywyd. Ym mhob rhan o’r byd, mae’r rhan fwyaf o fenywod yn methu â mwynhau’r rhyddfreiniau sylfaenol rydym ninnau’n eu mwynhau. Mae’r artistiaid hyn a’u gwaith yn sicrhau nad ydym yn anghofio pa mor bell rydym wedi symud ymlaen mewn cyfnod byr o amser, ond hefyd pa mor bell bydd rhaid i ni symud ymlaen eto i gyflawni gwir gydraddoldeb. Louise Jones-Williams

Hydref 2018

‘Better Broken Windows’ , Morwenna Catt

Morwenna Catt Mae Morwenna yn artist tecstilau

Morwenna is an accidental textile artist.

damweiniol. Dechreuodd ei gyrfa fel

Starting out as a painter and illustrator,

arlunydd a darlunydd, ond syrthiodd

she fell in love with the nostalgic and

mewn cariad â nodweddion hiraethus

sensory qualities of fabric. Her first

a synhwyraidd ffabrig.

experiments with sewing were crude,

Roedd ei

harbrofion cyntaf mewn gwnïo yn

monochromatic

scars

puncturing

greithiau garw, unlliw yn tyllu ffurfiau

leather and calico forms. With time,

calico a lledr. Gydag amser, datblygodd

her skills and confidence increased

ei sgiliau a’i hyder a newidiodd ei hen

and she swapped her old Victorian

beiriant llaw Fictoraidd am un trydan

hand cranked machine for a ‘modern’

‘modern’ a ganiataodd iddi chwarae â

electric one that allowed her to play

brodwaith symudiad rhydd a darlunio

with free motion embroidery and

ag edau. Mae ei thechneg yn gwyro

drawing with thread. Her technique

tuag at yr arbrofol a’r damweiniol ac

veers toward the experimental and

mae wrth ei bodd yn troi pethau yn

the haphazard and she loves to turn

llythrennol y tu mewn allan, boed hen

things literally inside out, whether

gotiau ffwr, tapestrïau neu rubanau

that be old fur coats, tapestries or

wedi’u brodio.

embroidered ribbons.

Nid yw’n cyfyngu ar y deunyddiau

She doesn’t limit the materials she uses,

mae’n eu defnyddio, gan gynnwys

incorporating vintage and antique

ffabrigau slawer dydd a hen ffasiwn,

fabrics, photography, drawings, wire,

ffotograffiaeth,

recycled plastics and ephemera into

plastigau

lluniau,

wedi’u

gwifren,

hailgylchu

her work. She prints images and words

effemera yn ei gwaith. Mae’n printio

onto many different types of fabrics,

delweddau a geiriau ar lawer o wahanol

combining these with found artifacts.

fathau o ffabrigau, gan gyfuno’r

She likes to mix it up, be a little theatrical

rhain ag arteffactau hapgael. Mae’n

and create surprising combinations;

hoffi cymysgu pethau, bod braidd

such as the sections of ornate, hand-

yn theatraidd a chreu cyfuniadau

beaded Edwardian embroidery layered

annisgwyl, fel y darnau o frodwaith

with iron-on glitter in this exhibition.

Edwardaidd addurnedig, wedi’u gleinio

â llaw a’u haenu â glitter gwreslynu a

Morwenna has an abiding interest in

welir yn yr arddangosfa hon.

folkloric tradition, crafts and handwork, rescuing abandoned vintage craft

Mae

gan

Morwenna

ddiddordeb

projects and costumes from charity

parhaol mewn traddodiad, crefftau

shops, injecting love back into them by

a gwaith llaw gwerin. Mae’n achub

repurposing them into new works. She

prosiectau crefft a gwisgoedd slawer

likes the sense that a person retains

dydd wedi’u taflu o siopau elusen, eu

a spark of life through the collecting

llenwi â chariad unwaith eto trwy eu

and treasuring of their things and that

hailbwrpasu yn weithiau newydd. Mae’n

stories (real or imagined) can be told

hoffi’r ymdeimlad bod person yn cadw

about them.

gwreichionen o fywyd trwy gasglu a

commissions for museums over the

thrysori eu pethau, ac y gellir adrodd

years,

storïau (rhai gwir neu ddychmygus)

referencing the daily lives, loves and

amdanynt. Mae wedi gwneud nifer o

tragedies of people from the past.

gomisiynau i amgueddfeydd ar hyd

She has done several

reinterpreting

objects

and

Beware for I am Fearless and therefore Powerfulâ&#x20AC;&#x2122; Morwenna Catt

y blynyddoedd, gan ailddehongli

For this exhibition she is presenting

gwrthrychau a chyfeirio at fywydau

two works. The first: ‘Beware for I am

bob dydd, carwriaethau a thrasiedïau

Fearless and therefore Powerful’ is a

pobl o’r gorffennol.

double layered apron bearing quotes from two luminous and fearless

Mae Morwenna yn cyflwyno dau ddarn

women. The title is a ‘repurposed’

o waith ar gyfer yr arddangosfa hon.

quote

Mae’r cyntaf: ‘Beware for I am Fearless

maligned monster in Mary Shelley’s

and therefore Powerful’ yn ffedog â

Frankenstein.

dwy haen yn dangos dyfyniadau gan

apron is traditional, womanly, softly

ddwy fenyw ddisglair ac eofn. Mae’r

gathered at a waist-band. Over this is

teitl yn ddyfyniad wedi ei ‘ailbwrpasu’

a second apron, a tongue in cheek take

gan yr anghenfil a gamdriniwyd ac a

on the masonic apron. Made of silk

ddifrïwyd yn Frankenstein gan Mary

rather than lambskin and embroidered

Shelley.

Mae haen gyntaf y ffedog

with a second quote, this time from

yn draddodiadol, yn fenywaidd, wedi

Annie Besant; “Through storm to

from

the

mistreated

and

The first layer of the

crychu’n llyfn wrth y gwregys. Dros

peace”.

hon mae ail ffedog, cyfeiriad cellweirus

character, a socialist, a women’s rights

at y ffedog fasonaidd.

Mae wedi’i

activist and Theosophist. She founded

gwneud o sidan yn hytrach na chroen

the first international co-freemasonry

oen a’i brodio ag ail ddyfyniad, gan

Lodge of ‘Le droite Humaine’ for men

Annie Besant y tro hwn: “Through

and women in England and became

storm to peace”.

it’s Grand Commander.

Roedd Besant yn

Besant was a fascinating

gymeriad cyfareddol, yn sosialydd, yn actifydd dros hawliau menywod ac

The second piece is inspired by The

yn Theosoffydd. Sefydlodd y Gyfrinfa

Great Militant Protest of March 1912,

cyd-saeryddiaeth ryngwladol gyntaf,

during which about 150 women from

‘Le droite Humaine’, ar gyfer dynion

all levels of society took up arms

a menywod yn Lloegr a daeth yn

(hammers, rocks and clubs) to smash

Bennaeth Mawreddog arni.

windows in the West End – in order to prove that the Government cared a

Mae’r ail ddarn wedi ei ysbrydoli

great deal more about property than

gan Wrthdystiad Milwriaethus Mawr

women. They were right and many

1912, pan gododd tua 150 o fenywod

of them were arrested and suffered

o bob lefel o gymdeithas eu harfau

appallingly in Holloway. To accompany

(morthwylion, creigiau a ffyn) i dorri

the patchwork of words, poetry and

ffenestri yn y West End – er mwyn profi

images I’ve recreated the hammer used

bod y Llywodraeth yn gofalu llawer mwy

by Lillian Ball, on which were inscribed

am eiddo nag am fenywod. Roedden

the words “Better broken windows

nhw’n iawn a chafodd llawer ohonynt

than broken promises”.

eu harestio gan ddioddef yn enbyd yn Holloway. Ar y cyd â’r clytwaith o eiriau, barddoniaeth a delweddau, mae wedi ail-greu’r morthwyl a ddefnyddiwyd gan Lillian Ball, gyda’r geiriau “Better broken windows than broken promises” wedi’u harysgrifio arno.

Womensâ&#x20AC;&#x2122; Protest March (detail) , Eleanor Edwardes

Eleanor Edwardes Caiff Eleanor ei hysbrydoli gan hanes

Eleanor is inspired by the history

brodwaith

a’r

stereoteipiau

sy’n

embroidery

and

stereotypes

amgylchynu gwnïo â llaw. Mae ei

surrounding hand-stitch. Her practice

hymarfer yn aml yn seiliedig ar elfen

is often based on an element of

o ymchwil hanesyddol a deunyddiau

historical

a gasglwyd. Mae ei phrosiect ‘Stitch

materials. Her project ‘Stitch Graffiti’ is a

Graffiti’ yn gasgliad o frodwaith llaw

collection of found hand embroideries

hapgael (a gasglwyd mewn ffeiriau

(collected at antique fairs and charity

hen bethau a siopau elusen). Mae wedi

shops) to which she subtly added

ychwanegu ymyriadau mympwyol yn

quirky interventions; breathing new

gynnil at y rhain, gan anadlu bywyd

life into old pieces whilst appreciating

newydd i hen ddarnau ond ar yr un

the time, care and techniques that

pryd yn gwerthfawrogi’r amser, y gofal

originally went into making them. Each

a’r technegau yn eu gwneuthuriad yn

piece is ‘signed’ with a cross-stitched

wreiddiol. Mae pob darn ‘wedi’i lofnodi’

monogram, or graffiti-artist’s ‘tag’ – a

â monogram mewn pwythau croes,

nod to the tradition of linen marking.

research

and

collected

neu â ‘thag’ artist graffiti – yn cydnabod

This was a way of adding her personal

y traddodiad o farcio llieiniau. Roedd

stamp to each piece and was a reference

hon yn ffordd o ychwanegu ei stamp

to the urban art she saw around me

personol at bob darn ac yn gyfeiriad at

in the city on a daily basis – a sort of

y gelf drefol a welai o’i chwmpas yn y

way to mark one’s territory. She enjoys

ddinas bob dydd – rhyw fath ar ffordd

the juxtaposition between what is

o farcio’i thiriogaeth. Mae’n mwynhau’r

seen as traditional ‘feminine’ craft and

cyfosodiad rhwng yr hyn a ystyrir yn

the ‘edgier’ modern street art which is

grefft ‘fenywaidd’ draddodiadol a’r

sometimes labelled as vandalism. She

gelf stryd fodern ‘fwy arbrofol’ a elwir

wants to show that embroidery is edgy

weithiau yn fandaliaeth. Mae hi eisiau

too, referencing modern life as well as

dangos bod brodwaith yn arbrofol

an idealised depiction of a bygone age.

hefyd, yn cyfeirio at fywyd modern ynghyd â darlunio oes a fu mewn

Eleanor’s

recent

embroideries,

ffordd ddelfrydoledig.

depicting the traditional stitched motif of a Victorian crinoline lady engaged

Mae brodwaith diweddar Eleanor

in modern misadventures, began with

yn portreadu’r motiff traddodiadol

a tablecloth she found showing the

pwythog o foneddiges Fictoraidd

lady as expected, posed decoratively

mewn crinolin yn cyflawni anffodion

amongst flowers in a garden. Using a

modern.

pan

similar naïve illustrative style and hand

ddaeth ar draws lliain bwrdd yn dangos

stitch techniques, she began placing

boneddiges yn eistedd yn addurnol,

her into 21st century settings. Her

yn ôl y disgwyl, yng nghanol blodau

misadventures become a sort of ‘Rake’s

mewn gardd. Gan ddefnyddio arddull

Progress’ or ‘fall from grace’ as we see her

darlunio naïf tebyg a thechnegau

character starting to develop. One such

gwnïo â llaw, aeth ati i’w gosod mewn

piece (’Caught Speeding’) escalates

sefyllfaoedd o’r 21ain ganrif. Mae ei

into her actually being arrested for a

hanffodion yn dod yn rhyw fath ar

crime. She is starting to stray a long

‘Hynt yr Oferwr’ neu ‘gwympo oddi

way from the flower garden!

Cychwynnodd

hyn

wrth ras’ wrth i ni weld ei chymeriad yn dechrau datblygu. Mae un o’r darnau

When Eleanor heard about the Russian

Caught Speeding, Eleanor Edwardes

hyn (’Caught Speeding’) yn datblygu

hacking scandal on the news, she saw

i’r graddau ei bod yn cael ei harestio

this as another way to involve her in

am drosedd. Mae’n dechrau crwydro

current affairs, and in ‘Hacker’ she can

ymhell oddi wrth yr ardd flodau!

be seen infiltrating the CIA from her bedroom. Suffragettes, incidentally,

Pan glywodd Eleanor am y scandal hacio

were known to put bombs into

yn Rwsia ar y newyddion, ystyriodd

letterboxes, perhaps an early form of

bod hon yn ffordd arall o’i chynnwys

‘hacking’.

mewn materion cyfoes, ac yn ‘Hacker’ gellir ei gweld yn ymdreiddio i’r CIA

Feminism

movement

has

o’i hystafell wely. A gyda llaw, roedd

undergone significant changes in

yn hysbys y byddai swffragetiaid yn

recent years, and upon learning of

rhoi bomiau mewn blychau llythyrau

the ‘Pussyhat’ marches happening

weithiau – ffurf gynnar ar ‘hacio’ efallai.

across America and the UK, Eleanor felt inspired to embroider the ‘Womens’

Mae ffeministiaeth fel mudiad wedi

Protest March’, featuring numerous

newid yn sylweddol yn y blynyddoedd

crinoline ladies making their voices

diwethaf, ac wrth ddysgu am y

heard. In this piece their faces and

gorymdeithiau ‘Pussyhat’ oedd yn

opinions are visible, not hidden behind

digwydd ar draws yr Unol Daleithiau

bonnets or baskets. However their

a’r DU, cafodd Eleanor ei hysbrydoli i

parasols and skirts remain in irony and

frodio’r ‘Womens’ Protest March’, gyda

perhaps as a nod to the women who

nifer o foneddigesau mewn crinolin yn

marched years before them - that time

peri i’w lleisiau gael eu clywed. Yn y darn

for a different set of rights.

hwn, mae eu hwynebau a’u barnau yn y golwg, ac nid ynghudd y tu ôl i’w bonedi

Eleanor

Edwardes

studied

neu eu basgedi. Fodd bynnag mae eu

Embroidery at Manchester School of

parasolau a’u sgertiau yn aros mewn

Art. She is based between London and

eironi ac efallai i gydnabod y menywod

Gloucestershire and creates art works

a orymdeithiodd flynyddoedd o’u blaen

inspired by traditional needlecraft which

nhw – y tro hwnnw dros set wahanol o

reference contemporary culture. She

hawliau.

has produced several historical costume

Astudiodd

Eleanor

commissions for the Corinium Museum

gyfer BA mewn Brodwaith yn Ysgol

in Cirencester and currently works in

Gelf

fashion

Manceinion.

Edwardes Mae’n

gweithio

yn Llundain a Swydd Gaerloyw ac yn creu gweithiau celf a ysbrydolir gan grefft gwnïo draddodiadol sy’n cyfeirio at ddiwylliant cyfoes. Mae wedi cynhyrchu nifer o gomisiynau gwisgoedd

hanesyddol

gyfer

Amgueddfa Corinium yn Cirencester ac ar hyn o bryd mae’n gweithio ym myd ffasiwn.

Media Meddles (detail) , Caren Garfen

Caren Garfen Media Meddles

100 mlynedd

100 years

100 o fenywod

100 women

100 o fedalau

100 medals

Yn ôl y gred, cafodd y 100 o fedalau

It is believed that 100 ‘valour’ medals

‘dewrder’

were created by the Women’s Social

Cymdeithasol

creu a

gan

Undeb

Gwleidyddol

and Political Union which was formed

Menywod a ffurfiwyd yn 1903, gan

Emmeline

bennaf.

Pankhurst. The medals were awarded

Dyfarnwyd y medalau i’r menywod

to those women who went on hunger

hynny a aeth ar streic newyn ac a

strike and were force-fed whilst in UK

gafodd eu gorfodi i fwyta pan oeddent

prisons.

Pankhurst

1903,

primarily

Emmeline

mewn carchardai yn y DU. Caren Garfen has created ‘Media Mae Caren Garfen wedi creu ‘Media

Meddles’ to celebrate 100 women’s

Meddles’ i ddathlu 100 o lwyddiannau

achievements globally, one for each

gan fenywod yn fyd-eang, un ar gyfer

year dating from 1918 to the present

pob blwyddyn rhwng 1918 a heddiw.

day. In some years there were no

Yn ystod rhai o’r blynyddoedd, ni

individual accomplishments attained

chyflawnwyd unrhyw lwyddiannau

but something of worth was noted in

unigol ond nodwyd rhywbeth o werth

the promotion of women’s rights.

o ran hyrwyddo hawliau menywod. The silkscreen printed medals have Ar y medalau sydd wedi’u printio ar

been hand stitched with the year,

sgrin sidan, mae blwyddyn, enw a

name and nationality of the individual

chenedl y derbynnydd unigol wedi eu

recipient. Added to these is their marital

gwnïo â llaw. Yn ychwanegol, rhoddir

status which is commonly recorded in

eu statws priodasol a gofnodwyd yn

the media, though generally bears little

gyffredin yn y cyfryngau, er bod i hyn

relevance to the achievement.

ychydig berthnasedd i’r llwyddiant. The hard won successes of these Cydnabyddir

llwyddiannau

tra

women are acknowledged on these

haeddiannol y menywod hyn ar y

medals, celebrating them as the first

medalau, gan ddathlu’r rhain fel y

females to gain status in politics,

menywod cyntaf i ennill statws mewn

in space, in the arts, in business, in

gwleidyddiaeth, yn y gofod, yn y

sport, and in other areas. However, to

celfyddydau, mewn busnes, mewn

counteract this, their achievements

chwaraeon ac mewn meysydd eraill.

have been downgraded by the media

Fodd bynnag, i wrthbwyso hyn,

who reduce these women’s endeavours

mae eu llwyddiannau wedi cael eu

by focussing on their appearance, their

hisraddio gan y cyfryngau sy’n bychanu

domestic life, their gender. The text is

ymdrechion y menywod hyn drwy

stitched in purple and green silks on

ganolbwyntio ar eu golwg, eu bywyd

a white ground to represent the three

domestig, eu rhywedd. Mae’r testun

colours of the Suffrage movement.

wedi ei wnïo mewn edau sidan porffor a gwyrdd ar gefndir gwyn i gynrychioli

We don’t have to look too far to realise

tri lliw’r mudiad Etholfraint.

that the media’s negative attitude towards women is little changed today.

Nid oes rhaid i ni edrych yn rhy bell i

Caren Garfen specialises in textiles and

sylweddoli nad yw agwedd negyddol y

painstaking hand stitching creating

cyfryngau wedi newid rhyw lawer hyd

carefully

heddiw.

profound messages. Caren’s interest

considered

pieces

with

is in gender politics and women’s Mae Caren Garfen yn arbenigo mewn

issues in the twenty-first century. She

tecstilau a gwniadwaith manwl ac

works around specific themes, such

mae’n creu darnau tra ystyriol gyda

as eating disorders, work/life balance,

negeseuon difrifol. Mae Caren yn

and dieting. Her wryly humorous and

ymddiddori

gwleidyddiaeth

sharply observed hand sewn messages

rhywedd a materion menywod yn

are the result of extensive research

yr unfed ganrif ar hugain. Mae’n

and intuitive observation. Inspiration

gweithio o gwmpas themâu penodol,

is derived from social media, fiction

fel anhwylderau bwyta, cydbwysedd

and non-fiction literature and from

gweithio/byw, a mynd ar ddeieit. Mae

personal stories.

mewn

ei negeseuon eironig o ddoniol a thra

sylwgar, sydd wedi’u gwnïo â llaw, yn

Caren has established an international

ffrwyth ei hymchwil eang a’i harsylwi

reputation for her accessible yet

sythweledol. Mae ei hysbrydoliaeth

challenging issue-based art. Her work

yn deillio o’r cyfryngau cymdeithasol,

has been exhibited widely in the UK

ffuglen a llenyddiaeth ffeithiol ac o

and Europe, as well as in Japan, USA,

storïau personol.

Canada and Australia.

Mae Caren wedi ennill enw da rhyngwladol am ei chelf seiliedig ar faterion, sy’n hygyrch ond hefyd yn heriol. Mae ei gwaith wedi cael ei arddangos yn helaeth yn y DU ac yn Ewrop, ynghyd ag yn Japan, Yr Unol Daleithiau, Canada ac Awstralia.

Rozanne Hawksley

“Y bleidlais, gweithred fechan ond

“The vote, a small but intensely powerful

hynod bwerus pan gaiff ei hailwneud

action when numerously repeated.

yn amryfal. Mae’r pensil sy’n gwneud

The pencil to make the mark unlocks a

y marc yn datgloi rhyddid newydd, yn

new freedom, enables a release from a

galluogi rhyddhad oddi wrth ffordd gul

narrow lifestyle bound by domesticity.

o fyw sydd wedi’i chaethiwo gan fywyd

The polished tray and clean traycloth,

cartref. Yr hambwrdd wedi’i gaboli

the padlocked chain, the woman’s grey

a’r lliain hambwrdd glân, y gadwyn â

glove holding the pencil tipped with

chlo clwt, maneg lwyd y wraig yn dal y

the Suffrage colours, that has unlocked

pensil â lliwiau’r Etholfraint ar ei flaen

the freedom of choice for many…and

sydd wedi datgloi’r rhyddid i ddewis i

a beginning.”

lawer…a dechreuad.” Rozanne Hawksley September 2018 Rozanne Hawksley Medi 2018

Ganwyd Rozanne Hawksley yn nhref

Born in the naval town Portsmouth

lyngesol Portsmouth yn 1931. Roedd yn

in 1931, Rozanne Hawksley was a

faciwî yn ystod y rhyfel a chafodd ei magu

wartime evacuee and grew up at a

ar adeg pan oedd llawer yn galaru dros y

time when many were mourning those

rhai hynny na ddychwelodd o’r môr. Mae

who never returned from the sea. Her

gwaith Rozanne yn adlewyrchu profiadau

work is reflective not only of personal

personol, ond hefyd ei hangerdd parhaol

experiences but also her lifelong

dros oferedd rhyfel a thrasiedi colled.

passions regarding the futility of war

Mae ei gwaith wedi’i drwytho â phŵer

and the tragedy of loss. Imbued with

personol anferth ac yn llawn cyfeiriadau

an enormous personal power and

alegorïaidd. Mae’n olrhain taith hir sy’n

rich in allegorical references, her work

cwmpasu’r cyffredinol a’r personol.

charts an odyssey encompassing the

Mae Rozanne yn adnabyddus fel un o

universal and intensely personal. She is

arloeswyr celf tecstilau blaenllaw y DU, y

known as one of the UK’s great textile

mae ei gwaith yn mynd ymhell y tu hwnt

art innovators, whose work lies far

i gategorïau syml.

beyond simple categories.

Ar ôl iddi hyfforddi yn y Coleg Celf

Having trained at the Royal College of

Brenhinol yn y 1950au, daeth yn rhan

Art in the 1950s she became part of

o’r grŵp a oedd yn cynnwys Lucien

the group that included Lucien Freud,

Freud, Francis Bacon a John Minton.

Francis Bacon and John Minton. She

Dilynodd gwrs ôl-raddedig yng Ngholeg

completed a postgraduate course at

Goldsmiths yn yr 1970au a dechreuodd

Goldsmiths College in the 1970s and

ddefnyddio tecstilau a gwniadwaith fel

began using textiles and needlework

ffurf gelf. Cydnabyddir yn gyffredinol

as an art form. Widely acknowledged as

bod Rozanne wedi chwarae rhan

having played a significant role in the

arwyddocaol yn natblygiad addysg,

development of interdisciplinary textile

ymchwil ac ysgolheictod ym myd

teaching, research and scholarship, her

tecstilau

contribution to the ground-breaking

ystyrir bod ei chyfraniad at arddangosfa

1988 exhibition, The Subversive Stitch,

arloesol 1988, The Subversive Stitch, yn

is regarded as seminal.

rhyngddisgyblaethol,

torri tir newydd. Since the late eighties Rozanne has

Rozanne Hawksley

Ers diwedd yr wythdegau, dechreuodd

attracted the attention of critics and

Rozanne ddenu sylw adolygwyr a

collectors alike and her work has

chasglwyr fel ei gilydd ac mae ei gwaith

appeared in shows across Britain and

wedi ymddangos mewn sioeau ar draws

Europe. She has also exhibited in Japan

Prydain ac Ewrop. Mae hefyd wedi

and the United States.

arddangos yn Japan aâ&#x20AC;&#x2122;r Unol Daleithiau.

Suffragette, Sue Shields

Sue Shields Hyfforddodd

Sue

darlunydd

Sue trained as an illustrator in

yng Nghaerdydd gan gwblhau ei

Cardiff and completed her teaching

chymhwyster addysgu yng Ngholeg

qualification at Goldsmith’s College.

Goldsmiths. Un o’r tiwtoriaid allweddol

A key tutor at Goldsmith’s was the

yn Goldsmiths oedd y wraig enwog,

renowned Constance Parker, who fired

Constance

her enthusiasm for embroidery and

brwdfrydedd dros frodwaith a collage

textile collage. Sue went on to teach,

tecstilau. Aeth Sue yn ei blaen i addysgu,

illustrate and make, often finding that

darlunio a gwneud, gan sylweddoli’n

the illustration and textile thinking

aml fod darlunio a meddylfryd tecstilau

came together in the making of dolls.

Parker,

fel

daniodd

yn dod at ei gilydd wrth wneud doliau. As an illustrator, Sue is inclined to look Fel darlunydd, mae Sue yn dueddol

for a narrative to work with. The first

o chwilio am naratif i weithio ag ef.

suffragette dolls were a response to an

Roedd y doliau swffragetiaid cyntaf yn

exhibition that MaP held in 2015, which

ymateb i arddangosfa a gynhaliodd

was entitled ‘Pinnies from Heaven’. As

y grŵp MaP yn 2015, o’r enw ‘Pinnies

a group, we responded to the history

from Heaven’. Fel grŵp, ymatebont i

of the pinafore and a colleague’s

hanes y ffedog a chasgliad cydweithiwr

collection of pinafores.

o ffedogau. Sue discovered that some of the Sylweddolodd

Sue

swffragetiaid

wedi

bod

rhai

o’r

suffragettes

used

their

pinafores

defnyddio’u

to advertise a suffrage march, or a

ffedogau i hysbysebu gorymdaith

meeting. In the Shropshire Star of

etholfraint,

1908 there appeared a photograph

1908,

of a suffragette wearing a pinafore

ymddangosodd llun o swffragét yn

with ‘Votes for Women’ on the bib and

gwisgo ffedog gyda ‘Votes for Women’

information for a march starting from

ar y bib a gwybodaeth am orymdaith

Victoria Embankment on the skirt of the

yn dechrau o Arglawdd Fictoria ar sgert

pinafore. Suffragettes Mabel Carpenter

y ffedog. Gwisgodd y swffragetiaid,

and Patricia Woodlock wore skirt only

Mabel Carpenter a Patricia Woodlock,

pinnies to advertise a meeting in

neu

Shropshire

gyfarfod. Star

ffedogau â sgert yn unig i hysbysebu

Heaton Park.

When she discovered

cyfarfod ym Mharc Heaton.

Pan

that in prison Emmeline and Christobel

ddarganfu Sue bod rhaid i Emmeline a

Pankhurst were required to wear not

Christobel Pankhurst wisgo ffrogiau du

only black dresses with white arrows,

gyda saethau gwyn yn y carchar, ond

but also white pinnies with black

hefyd ffedogau gwyn gyda saethau du

arrows printed on them, then a group

wedi’u hargraffu arnynt, roedd grŵp o

of dolls representing suffragettes

ddoliau yn cynrychioli swffragetiaid yn

seemed appropriate.

ymddangos yn briodol. Sue aimed to represent the range of Nod Sue oedd cynrychioli’r amrywiaeth

women involved in the movement,

o fenywod oedd ynghlwm wrth y

by producing a wealthy and a middle-

mudiad, trwy greu swffragét gyfoethog

class suffragette as well as a factory

a dosbarth canol ynghyd â merch ffatri.

girl. One doll has a force-feeding tube

Mae gan un o’r doliau diwb bwydo

which were used in prisons during the

drwy

suffragette’s hunger strikes. Another

orfodaeth

ddefnyddiwyd

mewn carchardai yn ystod streiciau

represents Lady Rhondda who took

newyn y swffragetiaid. Mae un arall

the campaign for women’s suffrage

yn cynrychioli Arglwyddes Rhondda

across South Wales. She attempted

a aeth â’r ymgyrch dros yr etholfraint

to destroy a post-box with a chemical

i fenywod ledled De Cymru. Ceisiodd

bomb which resulted in her serving a

ddinistrio blwch post gyda bom

period of time in the prison. She was

gemegion ac o ganlyniad, treuliodd

released only after going on a hunger

gyfnod o amser yn y carchar. Ni

strike.

chafodd ei rhyddhau nes iddi fynd ar streic newyn.

The printing of the doll’s pinnies was done with wood block type of the era.

Printiwyd ffedogau’r doliau gyda math o

The faces were created with linocut

floc pren o’r cyfnod. Crëwyd yr wynebau

elements. The way they are displayed

gydag elfennau torlun leino. Mae’r ffordd

is key to the story they tell.

y cânt eu harddangos yn allweddol i’r stori maen nhw’n ei ddweud.

Recently Sue has also made a series of

Yn ddiweddar mae Sue wedi gwneud

dolls that can be created from a printed

cyfres o ddoliau eraill y gellir eu creu o

tea towel. Brigid an Irish Step Dancing

liain sychu llestri printiedig. Brigid, dol

doll, Myfanwy with her Swansea

sy’n gwneud Dawns Step Wyddelig,

teapot, and Brittania with her shield

Myfanwy gyda’i thebot tsieni Abertawe,

and trident. Sue is a member of a South

a Brittania gyda’i tharian a’i thryfer. Mae

Wales based textile group called MaP,

Sue yn aelod o grŵp tecstilau yn Ne

Makers and Practitioners.

Cymru o’r enw MaP, Gwneuthurwyr ac Ymarferwyr.

Apron, Ruth Singer

Ruth Singer Mae Ruth yn berson sy’n fforio ac

Ruth is an explorer and investigator of

yn ymchwilio i wrthrychau, storïau,

objects, stories, places, materials and

lleoedd, deunyddiau ac atgofion. Mae’n

memories. She collects fragments of

casglu darnau o naratifau, gweadau

narratives, textures and feelings and

a theimladau ac yn eu troi yn bethau

turn them into precious things full of

gwerthfawr sy’n llawn ystyr. Mae’n

meaning. She is fascinated by material

cael ei swyno gan ddiwylliant materol,

culture, history, the power of objects

hanes, grym gwrthrychau ym mywydau

in human lives and the importance of

dynion a phwysigrwydd gwneud a

making and remembering. She creates

chofio. Mae’n creu gwaith seiliedig

research-driven work, often drawing

ar ei hymchwil, yn cyfeirio’n aml at ei

upon her first career in museums. Slow

gyrfa gyntaf mewn amgueddfeydd.

textile techniques allow her to be still

Mae technegau tecstilau araf yn ei

with her work and think intensely about

galluogi i fod yn llonydd gyda’i gwaith

the story behind it and the processes

a meddwl yn ddwys am y stori y tu ôl

she has chosen to use. Repetitive and

iddo a’r prosesau mae wedi dewis eu

painstaking working methods create

defnyddio. Mae ei dulliau gweithio

marks and meanings which invite

ailadroddus a diwyd yn creu marciau

close consideration and investigation.

ac ystyron sy’n gwahodd ystyriaeth

Her work aims to create intense

ac ymchwiliad manwl. Nod ei gwaith

engagement and capture ephemeral

yw ennyn cyfranogiad dwys a chipio

moments and experiences in cloth.

enydau a phrofiadau darfodedig mewn Having

brethyn.

read

the

accounts

suffragettes in prison and considering Ar

ôl

darllen

hanesion

the bravery of those women who knew

swffragetiaid yn y carchar ac ystyried

their actions would inevitably lead to

dewrder y menywod hynny a wyddai

prison sentences, the piece Ruth has

y byddai eu gweithredoedd yn arwain

made for ‘Suffrage’ explores this. Over

yn anochel at ddedfrydau o garchar,

1000 people, mostly women, were

mae’r darn a wnaed gan Ruth ar gyfer

imprisoned for criminal activity related

‘Etholfraint’ yn archwilio hyn. Cafodd

to suffrage campaigning in the early

dros 1000 o bobl, menywod yn bennaf,

20th century.

carcharu

weithgareddau

Through her Criminal Quilts project,

troseddol yn ymwneud ag ymgyrchu

she has become very interested in using

dros yr etholfraint yn gynnar yn yr

data as a way of telling a story, allowing

20fed ganrif.

her to step back from the personal story and away from the more obvious

Trwy ei phrosiect, Criminal Quilts,

interpretations to find a new route into

mae wedi ymddiddori’n fawr mewn

the narrative she is exploring. Ruth has

defnyddio data fel ffordd o ddweud

chosen to work with prison sentence

stori, gan ganiatáu iddi gamu nôl oddi

data to create this piece, looking at the

wrth y stori bersonol ac ymbellhau

sentence records of women, including

oddi wrth y dehongliadau mwy amlwg

the famous Pankhursts, Alice Hawkins

er mwyn dod o hyd i lwybr newydd at

from her home town of Leicester and

y naratif mae’n ei archwilio. Mae Ruth

Welsh women including Lady Rhondda

wedi dewis gweithio gyda data am

and the lesser-known Kate Evans.

ddedfrydau o garchar i greu’r darn hwn, gan astudio cofnodion dedfrydau

The apron is an antique piece, selected

Apron, Ruth Singer

menywod, yn cynnwys y chwiorydd

for its similarity to those seen in prison

Pankhurst enwog, Alice Hawkins o’i

photographs and descriptions Ruth

thref enedigol, Caerlŷr, a menywod

has read in documents. Prison clothing

o Gymru yn cynnwys Arglwyddes

was marked with painted-on arrows

Rhondda a’r wraig llai adnabyddus,

to show the items belonged to the

Kate Evans.

government. Rather than paint on these arrows, Ruth has hand stitched

Mae’r ffedog yn hen ddarn a ddewiswyd

them on using threads in shades of

am ei thebygrwydd i’r rhai a welwyd

grey.

mewn lluniau carchar a disgrifiadau a ddarllenodd Ruth mewn dogfennau.

She has taken a series of prison

Roedd dillad carchar wedi’u marcio

sentences imposed upon suffragettes,

â saethau paentiedig i ddangos bod

ranging from 7 days to 9 months as

yr eitemau’n perthyn i’r llywodraeth.

the starting point for this work and

Yn hytrach na pheintio’r saethau hyn,

created arrows using one stitch per day

mae Ruth wedi eu gwnïo â llaw gan

in prison. Each sentence is a different

ddefnyddio edafedd mewn arlliwiau o

thread. One of the arrows is made up of

lwyd.

270 stitches of a single 9 month prison sentence, while the others are made up

Mae wedi dewis cyfres o ddedfrydau o

of numerous shorter sentences. served

garchar a roddwyd i swffragetiaid, yn

by different women. The stitch is hand

amrywio o 7 niwrnod i 9 mis, fel man

embroidered chain stitch, a symbolic

cychwyn ar gyfer y gwaith hwn ac wedi

choice, where each single stitch forms

creu saethau yn defnyddio un pwyth

a connected chain which completes

am bob diwrnod yn y carchar. Mae

the whole.

pob dedfryd yn edau wahanol. Mae un o’r saethau’n cynnwys 270 o bwythau

There are almost 1000 individual stitches

unigol sy’n cynrychioli un ddedfryd

in this piece, representing the 1000

o garchar 9 mis, tra bod rhai eraill yn

individuals sent to prison. Hand stitching,

cynnwys nifer o ddedfrydau byrrach a

and the slow, careful work it involves,

wnaed gan wahanol fenywod. Mae’r

reflects the time spent in prison doing

pwythau wedi’u brodio â llaw yn

repetitive labour including needlework.

bwythau cadwyn, dewis symbolaidd ble mae pob pwyth unigol yn ffurfio cadwyn gysylltiedig sy’n cwblhau’r cyfanwaith. Mae bron 1000 o bwythau unigol yn y darn, yn cynrychioli’r 1000 o unigolion a anfonwyd i’r carchar. Mae gwnïo â llaw, a’r gwaith araf, gofalus sydd ynghlwm wrtho, yn adlewyrchu’r amser a dreuliwyd yn y carchar yn gwneud gwaith gorfod ailadroddus, yn cynnwys gwniadwaith.

Suffrage

Arddangosfa Canolfan y Celfyddydau Llantarnam Grange A Llantarnam Grange Arts Centre Exhibition Dylunio/Design: Hillview Design Cyhoeddwyd gan Ganolfan y Celfyddydau Llantarnam Grange. Testun Yr Awduron a LGAC 2017 Canolfan y Celfyddyda Llantarnam Grange, Heol Dewi Sant, Cwmbran, Torfaen NP44 1PD Published by Llantarnam Grange Arts Centre. Text LGAC 2018 Llantarnam Grange Arts Centre ,St Davids Road, Cwmbran, Torfaen NP44 1PD +44(0)1633 483321 info@lgac.org.uk www.lgac.org.uk Mae Canolfan y Celfyddydau Llantarnam Grange yn rhan o bortffolio Sefydliadau Refeniw Cyngor Celfyddydau Cymrun “Portffolio Celfyddydol Cymru” Elusen Gofrestredig rhif: 1006933. Cwmni Cyfyngedig trwy Warant rhif: 2616241 Llantarnam Grange Arts Centre is part of Arts Council of Wales portfolio of Revenue Funded Organisations “Arts Portfolio Wales” Registered Chartiy no: 1006933. Company Limited by Guarantee no: 2616241 Ariennir Canolfan y Celfyddydau Llantarnam Grange gan Gyngor Celfyddydau Cymru, Cyngor Bwrdeistref Sirol Torfaen a Chyngor Sir Fynwy. Llantarnam Grange Arts Centre is funded by the Arts Council of Wales, Torfaen County Borough Council and Monmouthshire County Council. Ni chaniateir atgynhyrchu’r cyhoeddiad hwn, boed yn rhannol neu yn ei gyfanrwydd, ar unrhyw ffurf heb ganiatad ysgrifenedig y Cyhoeddwr. This publication may not be reproduced in whole or in part in any form without written permission from the publisher. Y Clawr Cefn / Back cover: Media Meddles, Caren Garfen