when I woke
when I woke
when I woke
Llantarnam Grange Arts Centre Canolfan y Celfyddydau Llantarnam Grange
Acknowledgements Claire Curneen and Lowri Davies would like to thank the exhibitors: Sam Bakewell, Audrius Janušonis, James Page, Lina Peterson, Tamsin van Essen and Sophie Woodrow; also to Laura Gray, Mal Bennett and Neil Wallace for their work on the catalogue; to Alun Davies, Carwyn Evans, Anne Gibbs; and to Hywel Pontin, Louise Jones-Williams, David Lee, Charles Fountain and Louise Tolcher-Goldwyn at Llantarnam Grange Arts Centre.
Cydnabyddiaethau Fe hoffai Claire Curneen a Lowri Davies ddiolch i’r artistiaid: Sam Bakewell, Audrius Janušonis, James Page, Lina Peterson, Tamsin van Essen a Sophie Woodrow; hefyd i Laura Gray, Mal Bennett ac i Neil Wallace am eu gwaith ar y catalog; i Alun Davies, Carwyn Evans, Anne Gibbs; ac i Hywel Pontin, Louise Jones-Williams, David Lee, Charles Fountain a Louise Tolcher-Goldwyn yng Nghanolfan y Celfyddydau Llantarnam Grange.
Contents When I Woke by Dylan Thomas
6
When I Woke gan Dylan Thomas
Laura Gray Manchester based, currently a PhD Student in the Ceramics department at Cardiff School of Art and Design.
Laura Gray Yn byw ym Manceinion, ond ar hyn o bryd yn Fyfyriwr PhD yn yr adran Serameg yn Ysgol Gelf a Dylunio Caerdydd.
Introduction
8
Cyflwyniad
10
Mater a Meddwl Laura Gray
21
Design A1 Design, Cardiff Photography Mal Bennett Translation Heddwen Pugh-Evans
Dylunio A1 Design, Caerdydd Ffotograffiaeth Mal Bennett Cyfieithu Heddwen Pugh-Evans
When I Woke - reproduced by kind permission of the Dylan Thomas Estate (published in Deaths and Entrances, 1946)
When I Woke - trwy ganiatâd caredig Ystâd Dylan Thomas (cyhoeddwyd yn y gyfrol Deaths and Entrances, 1946)
The publishers would like to thank the Arts Council of Wales Published in the UK by Llantarnam Grange Arts Centre c Llantarnam Grange Arts Centre and the authors First published October 2012 ISBN: 978-0-9556047-6-8
Hoffai’r cyhoeddwyr ddiolch i Gyngor Celfyddydau Cymru Cyhoeddwyd yn y DU gan Ganolfan y Celfyddydau Llantarnam Grange Canolfan y Celfyddydau Llantarnam Grange a’r awduron Cyhoeddwyd gyntaf Hydref 2012 ISBN: 978-0-9556047-6-8
Llantarnam Grange Arts Centre St. David’s Road, Cwmbran, Torfaen, NP44 1PD T: +44(0)1633 483321 E: admin@lgac.org.uk W: www.lgac.org.uk Llantarnam Grange Arts Centre receives financial support from the Arts Council of Wales, Torfaen County Borough Council and Monmouthshire County Council Registered Charity No: 1006933 Company Limited by Guarantee No: 2616241
Canolfan y Celfyddydau Llantarnam Grange St. David’s Road, Cwmbran, Torfaen, NP44 1PD T: +44(0)1633 483321 E: admin@lgac.org.uk W: www.lgac.org.uk Mae Canolfan y Celfyddydau Llantarnam Grange yn derbyn cymorth ariannol gan Gyngor Celfyddydau Cymru, Cyngor Bwrdeistref Sirol Torfaen a Chyngor Sir Fynwy Elusen Gofrestredig Rhif: 1006933 Cwmni Cyfyngedig trwy Warant Rhif: 2616241
Matter and Thought Laura Gray
Cynnwys
13
THE WORKS
6
Y GWEITHIAU
Claire Curneen
28
Claire Curneen
28
Lowri Davies
30
Lowri Davies
30
Audrius Janušonis
32
Audrius Janušonis
32
Sam Bakewell
36
Sam Bakewell
36
James Page
40
James Page
40
Tamsin Van Essen
44
Tamsin Van Essen
44
Lina Peterson
48
Lina Peterson
48
Sophie Woodrow
52
Sophie Woodrow
52
List of Works
58
Rhestr y Gweithiau
58
WHEN I WOKE 5
Acknowledgements Claire Curneen and Lowri Davies would like to thank the exhibitors: Sam Bakewell, Audrius Janušonis, James Page, Lina Peterson, Tamsin van Essen and Sophie Woodrow; also to Laura Gray, Mal Bennett and Neil Wallace for their work on the catalogue; to Alun Davies, Carwyn Evans, Anne Gibbs; and to Hywel Pontin, Louise Jones-Williams, David Lee, Charles Fountain and Louise Tolcher-Goldwyn at Llantarnam Grange Arts Centre.
Cydnabyddiaethau Fe hoffai Claire Curneen a Lowri Davies ddiolch i’r artistiaid: Sam Bakewell, Audrius Janušonis, James Page, Lina Peterson, Tamsin van Essen a Sophie Woodrow; hefyd i Laura Gray, Mal Bennett ac i Neil Wallace am eu gwaith ar y catalog; i Alun Davies, Carwyn Evans, Anne Gibbs; ac i Hywel Pontin, Louise Jones-Williams, David Lee, Charles Fountain a Louise Tolcher-Goldwyn yng Nghanolfan y Celfyddydau Llantarnam Grange.
Contents When I Woke by Dylan Thomas
6
When I Woke gan Dylan Thomas
Laura Gray Manchester based, currently a PhD Student in the Ceramics department at Cardiff School of Art and Design.
Laura Gray Yn byw ym Manceinion, ond ar hyn o bryd yn Fyfyriwr PhD yn yr adran Serameg yn Ysgol Gelf a Dylunio Caerdydd.
Introduction
8
Cyflwyniad
10
Mater a Meddwl Laura Gray
21
Design A1 Design, Cardiff Photography Mal Bennett Translation Heddwen Pugh-Evans
Dylunio A1 Design, Caerdydd Ffotograffiaeth Mal Bennett Cyfieithu Heddwen Pugh-Evans
When I Woke - reproduced by kind permission of the Dylan Thomas Estate (published in Deaths and Entrances, 1946)
When I Woke - trwy ganiatâd caredig Ystâd Dylan Thomas (cyhoeddwyd yn y gyfrol Deaths and Entrances, 1946)
The publishers would like to thank the Arts Council of Wales Published in the UK by Llantarnam Grange Arts Centre c Llantarnam Grange Arts Centre and the authors First published October 2012 ISBN: 978-0-9556047-6-8
Hoffai’r cyhoeddwyr ddiolch i Gyngor Celfyddydau Cymru Cyhoeddwyd yn y DU gan Ganolfan y Celfyddydau Llantarnam Grange Canolfan y Celfyddydau Llantarnam Grange a’r awduron Cyhoeddwyd gyntaf Hydref 2012 ISBN: 978-0-9556047-6-8
Llantarnam Grange Arts Centre St. David’s Road, Cwmbran, Torfaen, NP44 1PD T: +44(0)1633 483321 E: admin@lgac.org.uk W: www.lgac.org.uk Llantarnam Grange Arts Centre receives financial support from the Arts Council of Wales, Torfaen County Borough Council and Monmouthshire County Council Registered Charity No: 1006933 Company Limited by Guarantee No: 2616241
Canolfan y Celfyddydau Llantarnam Grange St. David’s Road, Cwmbran, Torfaen, NP44 1PD T: +44(0)1633 483321 E: admin@lgac.org.uk W: www.lgac.org.uk Mae Canolfan y Celfyddydau Llantarnam Grange yn derbyn cymorth ariannol gan Gyngor Celfyddydau Cymru, Cyngor Bwrdeistref Sirol Torfaen a Chyngor Sir Fynwy Elusen Gofrestredig Rhif: 1006933 Cwmni Cyfyngedig trwy Warant Rhif: 2616241
Matter and Thought Laura Gray
Cynnwys
13
THE WORKS
6
Y GWEITHIAU
Claire Curneen
28
Claire Curneen
28
Lowri Davies
30
Lowri Davies
30
Audrius Janušonis
32
Audrius Janušonis
32
Sam Bakewell
36
Sam Bakewell
36
James Page
40
James Page
40
Tamsin Van Essen
44
Tamsin Van Essen
44
Lina Peterson
48
Lina Peterson
48
Sophie Woodrow
52
Sophie Woodrow
52
List of Works
58
Rhestr y Gweithiau
58
WHEN I WOKE 5
Introduction When I Woke
Assuming the responsibility of curating an exhibition provides a great opportunity to
The artists here examine the gritty questions which surround the human dilemma.
expand the artist’s horizons and provide a completely different perspective. It is very
The body and the figure are central to these artists and the exhibited works explore issues
much a case of poacher turned gamekeeper.
in relation to beauty, the visceral body, myth, folklore and tradition.The subject matter is complex and in very different ways they strive in search for something hidden or lost.
This is why we welcomed the invitation by Llantarnam Grange Arts Centre to curate an exhibition with no brief other than ‘its all yours’.
Dylan Thomas once claimed “I hold a beast, an angel, and a madman in me, and my enquiry is as to their working, and my problem is their subjugation and victory,
The artists invited to show in When I Woke are less about a ‘wish list’ and more about
downthrow and upheaval, and my effort is their self-expression”.
the dynamics of a strong challenging group of artists working today. We are delighted to present these artists of national and international standing at Our starting point is a poem by Dylan Thomas entitled When I Woke, from his Deaths
Llantarnam Grange Arts Centre and hope that When I Woke will challenge the viewer
and Entrances volume of 1946 and it is full of questions about life, death and change.
to engage with an idea that can stimulate passionate conversation and debate.
CLAIRE CURNEEN LOWRI DAVIES
8 WHEN I WOKE
WHEN I WOKE 9
Introduction When I Woke
Assuming the responsibility of curating an exhibition provides a great opportunity to
The artists here examine the gritty questions which surround the human dilemma.
expand the artist’s horizons and provide a completely different perspective. It is very
The body and the figure are central to these artists and the exhibited works explore issues
much a case of poacher turned gamekeeper.
in relation to beauty, the visceral body, myth, folklore and tradition.The subject matter is complex and in very different ways they strive in search for something hidden or lost.
This is why we welcomed the invitation by Llantarnam Grange Arts Centre to curate an exhibition with no brief other than ‘its all yours’.
Dylan Thomas once claimed “I hold a beast, an angel, and a madman in me, and my enquiry is as to their working, and my problem is their subjugation and victory,
The artists invited to show in When I Woke are less about a ‘wish list’ and more about
downthrow and upheaval, and my effort is their self-expression”.
the dynamics of a strong challenging group of artists working today. We are delighted to present these artists of national and international standing at Our starting point is a poem by Dylan Thomas entitled When I Woke, from his Deaths
Llantarnam Grange Arts Centre and hope that When I Woke will challenge the viewer
and Entrances volume of 1946 and it is full of questions about life, death and change.
to engage with an idea that can stimulate passionate conversation and debate.
CLAIRE CURNEEN LOWRI DAVIES
8 WHEN I WOKE
WHEN I WOKE 9
Cyflwyniad When I Woke
Mae derbyn cyfrifoldeb am guradu arddangosfa’n cynnig cyfle gwych i ehangu
Mae’r artistiaid yma’n archwilio’r cwestiynau dyrys sy’n cwmpasu’r dilema dynol. Mae’r
gorwelion yr artist ac yn cynnig persbectif cwbl wahanol. Mae’n enghraifft perffaith, ys
corff a’r ffigwr yn ganolog i’r artistiaid hyn ac mae’r gwaith yn yr arddangosfa’n archwilio
dywed y Sais, o ‘poacher turned game keeper’.
materion sy’n ymwneud â harddwch, y corff o gig a gwaed, mytholeg, llên gwerin a thraddodiad. Mae’r cynnwys yn gymhleth ac, mewn ffyrdd gwahanol iawn, maent yn
Dyma pam y croesawom y gwahoddiad gan Ganolfan y Celfyddydau Llantarnam Grange
ceisio chwilio am rywbeth cudd neu golledig.
i guradu arddangosfa heb unrhyw frîff, heblaw ei fod i gyd ‘fyny i chi’. Honnodd Dylan Thomas unwaith “I hold a beast, an angel, and a madman in me, and Mae’r artistiaid a wahoddwyd i arddangos yn When I Woke yn ymwneud llai â ‘rhestr o
my enquiry is as to their working, and my problem is their subjugation and victory,
ddymuniadau’ ac yn hytrach fwy am ddynameg grwp ˆ heriol, cryf o artistiaid sy’n
downthrow and upheaval, and my effort is their self-expression”.
gweithio heddiw. Pleser o’r mwyaf inni yw cael cyflwyno’r artistiaid cenedlaethol a rhyngwladol nodedig Ein man cychwyn yw cerdd gan Dylan Thomas o’r enw When I Woke, o’i gyfrol Deaths
hyn yng Nghanolfan y Celfyddydau Llantarnam Grange a hyderwn y bydd When I Woke
and Entrances o 1946 ac mae’n llawn cwestiynau am fywyd, marwolaeth a newid.
yn herio’r gwyliwr i fod yn rhan o syniad all symbylu sgwrs a thrafodaeth frwd.
CLAIRE CURNEEN LOWRI DAVIES
10 WHEN I WOKE
WHEN I WOKE 11
Cyflwyniad When I Woke
Mae derbyn cyfrifoldeb am guradu arddangosfa’n cynnig cyfle gwych i ehangu
Mae’r artistiaid yma’n archwilio’r cwestiynau dyrys sy’n cwmpasu’r dilema dynol. Mae’r
gorwelion yr artist ac yn cynnig persbectif cwbl wahanol. Mae’n enghraifft perffaith, ys
corff a’r ffigwr yn ganolog i’r artistiaid hyn ac mae’r gwaith yn yr arddangosfa’n archwilio
dywed y Sais, o ‘poacher turned game keeper’.
materion sy’n ymwneud â harddwch, y corff o gig a gwaed, mytholeg, llên gwerin a thraddodiad. Mae’r cynnwys yn gymhleth ac, mewn ffyrdd gwahanol iawn, maent yn
Dyma pam y croesawom y gwahoddiad gan Ganolfan y Celfyddydau Llantarnam Grange
ceisio chwilio am rywbeth cudd neu golledig.
i guradu arddangosfa heb unrhyw frîff, heblaw ei fod i gyd ‘fyny i chi’. Honnodd Dylan Thomas unwaith “I hold a beast, an angel, and a madman in me, and Mae’r artistiaid a wahoddwyd i arddangos yn When I Woke yn ymwneud llai â ‘rhestr o
my enquiry is as to their working, and my problem is their subjugation and victory,
ddymuniadau’ ac yn hytrach fwy am ddynameg grwp ˆ heriol, cryf o artistiaid sy’n
downthrow and upheaval, and my effort is their self-expression”.
gweithio heddiw. Pleser o’r mwyaf inni yw cael cyflwyno’r artistiaid cenedlaethol a rhyngwladol nodedig Ein man cychwyn yw cerdd gan Dylan Thomas o’r enw When I Woke, o’i gyfrol Deaths
hyn yng Nghanolfan y Celfyddydau Llantarnam Grange a hyderwn y bydd When I Woke
and Entrances o 1946 ac mae’n llawn cwestiynau am fywyd, marwolaeth a newid.
yn herio’r gwyliwr i fod yn rhan o syniad all symbylu sgwrs a thrafodaeth frwd.
CLAIRE CURNEEN LOWRI DAVIES
10 WHEN I WOKE
WHEN I WOKE 11
Matter and Thought LAURA GRAY
When I woke, the town spoke. Birds and clocks and cross bells To explore his themes of death and change Dylan Thomas first shakes us awake in bed, surrounded by sounds: birds, clocks and bells from any house in any town. His profound and universal themes are tied to ordinary life, waking at home, walking in the sea air. The poem When I Woke, like the novels of Winifred Holtby and Elizabeth Taylor, finds in ordinary life no lesser feeling because the setting is not operatic in scale. And so the rooms of Llantarnam Grange, once a house and now an arts centre, are populated by works of art that have the capacity to hold within them the universal themes of Thomas’ poem and they have carried those ideas and thoughts into this semi-domestic setting. The relics of domestic life in the architecture of the gallery are not incongruous, they remind us that domestic life for all its cosy familiarity is often the stage for the drama of the human condition: the desire for omnipotence and immortality, it sets before us the world in a microcosm.
12 WHEN I WOKE
Âş
WHEN I WOKE 13
Matter and Thought LAURA GRAY
When I woke, the town spoke. Birds and clocks and cross bells To explore his themes of death and change Dylan Thomas first shakes us awake in bed, surrounded by sounds: birds, clocks and bells from any house in any town. His profound and universal themes are tied to ordinary life, waking at home, walking in the sea air. The poem When I Woke, like the novels of Winifred Holtby and Elizabeth Taylor, finds in ordinary life no lesser feeling because the setting is not operatic in scale. And so the rooms of Llantarnam Grange, once a house and now an arts centre, are populated by works of art that have the capacity to hold within them the universal themes of Thomas’ poem and they have carried those ideas and thoughts into this semi-domestic setting. The relics of domestic life in the architecture of the gallery are not incongruous, they remind us that domestic life for all its cosy familiarity is often the stage for the drama of the human condition: the desire for omnipotence and immortality, it sets before us the world in a microcosm.
12 WHEN I WOKE
Âş
WHEN I WOKE 13
Three threads, drawn together in the ghost of a home, run through the works in this
Clay in myth and molding myth in clay is continued in the work of Audrius Janušonis.
exhibition. The first is myth and story telling, the second is the human body and the
Janušonis’ work Take a rib make a woman (2010) begins with a reference to the Bible’s
third is clay. This semi-domestic setting defines the home as a place where stories are
telling of God making a companion for Adam by taking one of his ribs to make Eve.
told; a place that is brought to life by the presence of the human body.
The God we see here appears to be in a moment of contemplation, his brow furrowed with concern and concentration. Janušonis takes the notion of an omnipotent and
The warm-veined double of Time
omniscient God and transforms this figure into an altogether more human image of God, a God perhaps troubled by what he is about to do.This story of the rib, taken back
Claire Curneen’s work acts as a centre point for the exhibition, a hub from which ideas
one step, brings us to the myth of the creation of the body in clay and gives a sense of
about the body, the human figure, narrative and storytelling radiate outwards. With her
the universality of clay. In Christianity God shapes man from clay. Similarly the Titan
figures of saints and flower-faced men and women Claire pulls us into a world of myth
Prometheus is entrusted with the task of moulding mankind out of clay; after he has
and storytelling centering on the human body and the body as a starting point for artistic
shaped man out of mud, Athena the goddess of wisdom, breathes life into clay. In the
investigation that draws together the work of the other artists in this exhibition.
Qur’an God shapes clay into human form and breathes the soul into it. Janušonis gives a sense of the cultural universality of clay and the aptness of depicting the human
Lowri Davies gives the transient, a ritual performed across Wales a century ago, a
condition, never far from the surface in his sculptures, in clay, a material so closely
material presence with her new work that draws on Welsh musical traditions and passing
associated with the shaping of our own bodies.
stories through families. Pulli Cantus (2012) has its origins in the plygain, a carol service held at parish churches in the early hours of Christmas morning. The congregation
Everybody’s earth.
would bring their own candles to light the church where groups of singers would sing their carols in turn. The plygain took place in the dark hours between 3am and 6am, so
The presence of the maker and human action on clay is central to the work of Sam
massed candles illuminated the church. Davies own family were singers and her work is
Bakewell, he uses his body as a tool to shape and manipulate pieces of clay. Bakewell’s
in part a memento mori for a Welsh tradition once thought to be entirely lost, and her
forms remind us of Giuseppe Penone and Andrew Lord’s works. Penone’s series of clay
own family history.
forms Breaths (ca.1970) were marked with the imprint of his clothed body. Andrew
14 WHEN I WOKE
WHEN I WOKE 15
Three threads, drawn together in the ghost of a home, run through the works in this
Clay in myth and molding myth in clay is continued in the work of Audrius Janušonis.
exhibition. The first is myth and story telling, the second is the human body and the
Janušonis’ work Take a rib make a woman (2010) begins with a reference to the Bible’s
third is clay. This semi-domestic setting defines the home as a place where stories are
telling of God making a companion for Adam by taking one of his ribs to make Eve.
told; a place that is brought to life by the presence of the human body.
The God we see here appears to be in a moment of contemplation, his brow furrowed with concern and concentration. Janušonis takes the notion of an omnipotent and
The warm-veined double of Time
omniscient God and transforms this figure into an altogether more human image of God, a God perhaps troubled by what he is about to do.This story of the rib, taken back
Claire Curneen’s work acts as a centre point for the exhibition, a hub from which ideas
one step, brings us to the myth of the creation of the body in clay and gives a sense of
about the body, the human figure, narrative and storytelling radiate outwards. With her
the universality of clay. In Christianity God shapes man from clay. Similarly the Titan
figures of saints and flower-faced men and women Claire pulls us into a world of myth
Prometheus is entrusted with the task of moulding mankind out of clay; after he has
and storytelling centering on the human body and the body as a starting point for artistic
shaped man out of mud, Athena the goddess of wisdom, breathes life into clay. In the
investigation that draws together the work of the other artists in this exhibition.
Qur’an God shapes clay into human form and breathes the soul into it. Janušonis gives a sense of the cultural universality of clay and the aptness of depicting the human
Lowri Davies gives the transient, a ritual performed across Wales a century ago, a
condition, never far from the surface in his sculptures, in clay, a material so closely
material presence with her new work that draws on Welsh musical traditions and passing
associated with the shaping of our own bodies.
stories through families. Pulli Cantus (2012) has its origins in the plygain, a carol service held at parish churches in the early hours of Christmas morning. The congregation
Everybody’s earth.
would bring their own candles to light the church where groups of singers would sing their carols in turn. The plygain took place in the dark hours between 3am and 6am, so
The presence of the maker and human action on clay is central to the work of Sam
massed candles illuminated the church. Davies own family were singers and her work is
Bakewell, he uses his body as a tool to shape and manipulate pieces of clay. Bakewell’s
in part a memento mori for a Welsh tradition once thought to be entirely lost, and her
forms remind us of Giuseppe Penone and Andrew Lord’s works. Penone’s series of clay
own family history.
forms Breaths (ca.1970) were marked with the imprint of his clothed body. Andrew
14 WHEN I WOKE
WHEN I WOKE 15
Lord too used to his body to shape clay; in Smelling, Swallowing and Tasting (1996–1998),
of this series, Psoriasis 2 (2010) is an extraordinarily delicate apothecary jar that echoes
Lord depicts processes of the body.While there is precedent for using the body to shape
flaking skin and points to the failings of the human body. These failings must temper
clay, Bakewell’s work Wholly Other (2011) is not so literal. Instead Wholly Other appears
the human desire for immortality and instead embrace the transience and impermanence
as an abstract piece of clay that has been made to fracture and develop fault lines by an
of life. Just as this work teeters on the brink of collapse, a breath of air it seems could
unknown force. And yet the body of the artist is present in the work, represented by
destroy the surface, so van Essen reminds us of fragility of the human body.This fragility
the fissures and curves of the clay. This is a visceral approach to representing the body,
has expression in many myths and stories. In Egyptian mythology, Osiris is torn limb
and what better material to signify the messiness and mutability of the human body
from limb, just as Actaeon the unfortunate hunter is torn apart by dogs in Greek myth.
than clay?
In Ovid’s Metamorphoses the human body is mutable, unfixed, often changing against the will of the person concerned. In van Essen’s work we see a development of the idea put
James Page also explores a material interest in the possibilities of clay and its relation to other materials. His enigmatic and strange objects refuse to disclose their purpose, but by raising them on ascetic and geometrically exact pedestals, he makes these uncanny, half recognizable forms revel in their materiality.The contrast between the muscular and earthy forms with the steel is striking. His use of black clay in Land I (2011) and Land II (2011) is an expression of the possibilities of material, emphasized by positioning these manipulated lumps of clay on precise steel structures.
forward by Anton Ehrenzweig in The Hidden Order of Art (1967), that the part of the human condition that desires ‘omnipotence and immortality’ is ‘thwarted by the limitations of reality’. Lina Peterson, the only jeweller in the exhibition, continues to explore the theme of the body and art. Reflections are often distorted, they seldom reflect reality in their entirety; this is captured eloquently in these beguiling pieces of jewellery.The relationship between jewellery and the body is given expression by Keats, who in The Eve of St Agnes, describes a young woman removing her jewels: as she unclasps her warmed jewels one
And the coins on my eyelids sang like shells.
by one, they retain the heat of her body. Through her transformation of ordinary materials, lime-wood, plywood, resin, mother of pearl, paint and stainless steel into
Tamsin van Essen’s exploration of the body is direct and unflinching. In 2008–10 she
jewellery, Peterson’s collection Reflections (2011) mirrors the transformative effect of the
produced a series of vases that were commissioned by the Wellcome Foundation. Part
human body on precious stones.
16 WHEN I WOKE
WHEN I WOKE 17
Lord too used to his body to shape clay; in Smelling, Swallowing and Tasting (1996–1998),
of this series, Psoriasis 2 (2010) is an extraordinarily delicate apothecary jar that echoes
Lord depicts processes of the body.While there is precedent for using the body to shape
flaking skin and points to the failings of the human body. These failings must temper
clay, Bakewell’s work Wholly Other (2011) is not so literal. Instead Wholly Other appears
the human desire for immortality and instead embrace the transience and impermanence
as an abstract piece of clay that has been made to fracture and develop fault lines by an
of life. Just as this work teeters on the brink of collapse, a breath of air it seems could
unknown force. And yet the body of the artist is present in the work, represented by
destroy the surface, so van Essen reminds us of fragility of the human body.This fragility
the fissures and curves of the clay. This is a visceral approach to representing the body,
has expression in many myths and stories. In Egyptian mythology, Osiris is torn limb
and what better material to signify the messiness and mutability of the human body
from limb, just as Actaeon the unfortunate hunter is torn apart by dogs in Greek myth.
than clay?
In Ovid’s Metamorphoses the human body is mutable, unfixed, often changing against the will of the person concerned. In van Essen’s work we see a development of the idea put
James Page also explores a material interest in the possibilities of clay and its relation to other materials. His enigmatic and strange objects refuse to disclose their purpose, but by raising them on ascetic and geometrically exact pedestals, he makes these uncanny, half recognizable forms revel in their materiality.The contrast between the muscular and earthy forms with the steel is striking. His use of black clay in Land I (2011) and Land II (2011) is an expression of the possibilities of material, emphasized by positioning these manipulated lumps of clay on precise steel structures.
forward by Anton Ehrenzweig in The Hidden Order of Art (1967), that the part of the human condition that desires ‘omnipotence and immortality’ is ‘thwarted by the limitations of reality’. Lina Peterson, the only jeweller in the exhibition, continues to explore the theme of the body and art. Reflections are often distorted, they seldom reflect reality in their entirety; this is captured eloquently in these beguiling pieces of jewellery.The relationship between jewellery and the body is given expression by Keats, who in The Eve of St Agnes, describes a young woman removing her jewels: as she unclasps her warmed jewels one
And the coins on my eyelids sang like shells.
by one, they retain the heat of her body. Through her transformation of ordinary materials, lime-wood, plywood, resin, mother of pearl, paint and stainless steel into
Tamsin van Essen’s exploration of the body is direct and unflinching. In 2008–10 she
jewellery, Peterson’s collection Reflections (2011) mirrors the transformative effect of the
produced a series of vases that were commissioned by the Wellcome Foundation. Part
human body on precious stones.
16 WHEN I WOKE
WHEN I WOKE 17
Dinned alongside the coiling crowd. From the human body to anthropomorphic figures, Sophie Woodrow’s Crowd (2012) is made up of a group of creatures that conflate human and animal imagery. Their form suggests a group of canopic jars, with the viscera of an imagined body contained within. Crowd also calls to mind the possibility that Freud’s ‘old and grubby gods’– the numerous small ancient sculptures that he kept on his desk, might come to life. One of these figures brings us back full circle to the Welsh stories that have provided the way in to Lowri Davies’ new and experimental work; covered in many tiny buds this figure brings to mind the Welsh myth of Blodeuwedd, a woman made of flowers.
Acknowledgements I would like to thank Dr Ashim Bettadapura for his kind and astute assistance with the development of this essay.
I heard, this morning, waking, Crossly out of the town noises When I Woke is a collection of work that is sensuous, expressive and narrative. Sometimes mysterious, the visual equivalent of Thomas’ ‘out of the town noises’, their placement in a familiar setting emphasises their strangeness. Whether these objects speak in a language we know or not, it is a pleasure to listen out for the rhythm and music of what they are saying.
18 WHEN I WOKE
WHEN I WOKE 19
Dinned alongside the coiling crowd. From the human body to anthropomorphic figures, Sophie Woodrow’s Crowd (2012) is made up of a group of creatures that conflate human and animal imagery. Their form suggests a group of canopic jars, with the viscera of an imagined body contained within. Crowd also calls to mind the possibility that Freud’s ‘old and grubby gods’– the numerous small ancient sculptures that he kept on his desk, might come to life. One of these figures brings us back full circle to the Welsh stories that have provided the way in to Lowri Davies’ new and experimental work; covered in many tiny buds this figure brings to mind the Welsh myth of Blodeuwedd, a woman made of flowers.
Acknowledgements I would like to thank Dr Ashim Bettadapura for his kind and astute assistance with the development of this essay.
I heard, this morning, waking, Crossly out of the town noises When I Woke is a collection of work that is sensuous, expressive and narrative. Sometimes mysterious, the visual equivalent of Thomas’ ‘out of the town noises’, their placement in a familiar setting emphasises their strangeness. Whether these objects speak in a language we know or not, it is a pleasure to listen out for the rhythm and music of what they are saying.
18 WHEN I WOKE
WHEN I WOKE 19
Mater a Meddwyl LAURA GRAY
When I woke, the town spoke. Birds and clocks and cross bells Er mwyn archwilio ei themâu, sef marwolaeth a newid, yn gyntaf mae Dylan Thomas yn ein ysgwyd yn effro yn y gwely, wedi ein amgylchynu â gwahanol synau: adar, clociau a chlychau o unrhyw dˆy yn unrhyw dref. Mae ei themâu dwys a hollgyffredinol ynghlwm â bywyd bob dydd, deffro gartref, cerdded yn aer y môr. Mae’r gerdd When I Woke, fel nofelau Winifred Holtby ac Elizabeth Taylor, yn canfod yr un teimladau mewn bywyd cyffredin er nad yw’r sefyllfa’n un operatig ei maint. Ac felly mae ystafelloedd Llantarnam Grange, fu unwaith yn dˆy ond sydd bellach yn ganolfan celfyddydau, yn llawn gweithiau celf sydd â’r ddawn i gynnwys themâu hollgyffredinol cerdd Thomas ac maent wedi cludo’r syniadau a’r teimladau hynny i mewn i’r lleoliad lled-ddomestig hwn. ’Dyw’r olion o fywyd domestig a welir ym mhensaernïaeth yr oriel ddim yn od, yn hytrach maent yn ein hatgoffa bod bywyd domestig, er gwaethaf ei natur cwbl glyd a chyfarwydd, yn aml yn lwyfan ar gyfer
20 WHEN I WOKE
WHEN I WOKE 21
Mater a Meddwyl LAURA GRAY
When I woke, the town spoke. Birds and clocks and cross bells Er mwyn archwilio ei themâu, sef marwolaeth a newid, yn gyntaf mae Dylan Thomas yn ein ysgwyd yn effro yn y gwely, wedi ein amgylchynu â gwahanol synau: adar, clociau a chlychau o unrhyw dˆy yn unrhyw dref. Mae ei themâu dwys a hollgyffredinol ynghlwm â bywyd bob dydd, deffro gartref, cerdded yn aer y môr. Mae’r gerdd When I Woke, fel nofelau Winifred Holtby ac Elizabeth Taylor, yn canfod yr un teimladau mewn bywyd cyffredin er nad yw’r sefyllfa’n un operatig ei maint. Ac felly mae ystafelloedd Llantarnam Grange, fu unwaith yn dˆy ond sydd bellach yn ganolfan celfyddydau, yn llawn gweithiau celf sydd â’r ddawn i gynnwys themâu hollgyffredinol cerdd Thomas ac maent wedi cludo’r syniadau a’r teimladau hynny i mewn i’r lleoliad lled-ddomestig hwn. ’Dyw’r olion o fywyd domestig a welir ym mhensaernïaeth yr oriel ddim yn od, yn hytrach maent yn ein hatgoffa bod bywyd domestig, er gwaethaf ei natur cwbl glyd a chyfarwydd, yn aml yn lwyfan ar gyfer
20 WHEN I WOKE
WHEN I WOKE 21
drama’r cyflwr dynol: yr awydd am hollalluogrwydd ac anfarwoldeb, mae’n gosod
ble y byddai grwpiau o gantorion yn canu carolau yn eu tro. Cynhelir y blygain ym
o’n blaen y byd mewn microcosm.
mherfedd nos rhwng 3 a 6 o’r gloch y bore, felly’r llu o ganhwyllau fyddai’n goleuo’r eglwys. Roedd teulu Davies yn gantorion ac mae ei gwaith, yn rhannol, yn memento mori
Ceir tri llinyn, a dynnwyd ynghyd yn y rhith yma o gartref, sy’n llifo trwy’r gweithiau
i draddodiad Cymreig y credwyd ar un adeg oedd wedi ei golli’n llwyr, ac i’w hanes
a geir yn yr arddangosfa hon.Y cyntaf yw mytholeg ac adrodd straeon, yr ail yw’r corff
teuluol hithau.
dynol a’r trydydd yw clai. Mae’r llwyfan lled-ddomestig yma’n diffinio’r cartref fel man ble y caiff straeon eu hadrodd; man gaiff ei fywiogi gan bresenoldeb y corff dynol.
Mae hanes clai mewn mytholeg a mowldio mytholeg mewn clai yn cael ei barhau yng ngwaith Audrius Janušonis. Mae gwaith Janušonis Take a rib make a woman (2010) yn
The warm-veined double of Time
dechrau â chyfeiriad at hanes yn y Beibl am Dduw yn creu cymar i Adda trwy gymryd un o’i asennau i greu Efa. Mae’r Duw a welwn yma’n ymddangos fel pe bae’n myfyrio’n
Mae gwaith Claire Curneen yn gweithredu fel ffocws ar gyfer yr arddangosfa,
ddwys, ei dalcen wedi rhychu â phryder a phwysau canolbwyntio. Mae Janušonis yn
canolbwynt y mae syniadau am y corff, y ffigwr ddynol, naratif ac adrodd straeon yn
cymryd y cysyniad o Dduw hollalluog a hollwybodol ac yn trawsnewid y ffigwr yma’n
pelydru ohono. Â’i ffigyrau o seintiau a dynion a menywod â wynebau o flodau, bydd
ddelwedd llawer mwy dynol o Dduw, Duw sydd yn gofidio efallai am yr hyn y mae ar
Claire yn ein denu i mewn i fyd yn llawn mytholeg ac adrodd straeon sy’n canolbwyntio
fin ei wneud. Daw yr hanes yma am yr asen, o’i ddirwyn yn ôl un cam, â ni at y myth
ar y corff dynol a’r corff fel man cychwyn ar gyfer ymchwiliad artistig sy’n dwyn ynghyd
o greu’r corff mewn clai ac mae’n creu ymdeimlad o natur hollgyffredinol clai. Yn y
holl waith yr artistiaid eraill yn yr arddangosfa hon.
traddodiad Cristnogol lluniodd Duw ddyn o glai.Yn yr un modd rhoddir tasg i’r Titan Promethews i fowldio dynolryw o glai; wedi iddo lunio dyn o’r mwd mae Athena,
Mae Lowri Davies yn rhoi presenoldeb materol i’r byrhoedlog, i ddefod a berfformiwyd
duwies doethineb, yn anadlu bywyd i mewn i’r clai. Yn y Qur’an mae Duw yn llunio
ar draws Cymru ganrif yn ôl, â’i gwaith newydd sy’n cyfeirio at draddodiadau cerddorol
clai yn ffurf dynol ac yn anadlu’r enaid i mewn iddo. Mae Janušonis yn cyfleu ymdeimlad
Cymreig a phasio hanesion trwy deuluoedd. Mae gwreiddiau Pulli Cantus (2012) yn y
o natur hollgyffredinol diwylliannol clai ac addasrwydd dehongli’r cyflwr dynol, sydd
blygain, gwasanaeth carolau a gynhelwyd yn wreiddiol mewn eglwysi plwyf yn oriau
fyth yn bell o’r wyneb yn ei gerfluniau, mewn clai, deunydd sydd wedi ei gysylltu mor
mân bore Nadolig. Byddai’r gynulleidfa’n dod â chanhwyllau gyda hwy i oleuo’r eglwys
agos â llunio ein cyrff ninnau.
22 WHEN I WOKE
WHEN I WOKE 23
drama’r cyflwr dynol: yr awydd am hollalluogrwydd ac anfarwoldeb, mae’n gosod
ble y byddai grwpiau o gantorion yn canu carolau yn eu tro. Cynhelir y blygain ym
o’n blaen y byd mewn microcosm.
mherfedd nos rhwng 3 a 6 o’r gloch y bore, felly’r llu o ganhwyllau fyddai’n goleuo’r eglwys. Roedd teulu Davies yn gantorion ac mae ei gwaith, yn rhannol, yn memento mori
Ceir tri llinyn, a dynnwyd ynghyd yn y rhith yma o gartref, sy’n llifo trwy’r gweithiau
i draddodiad Cymreig y credwyd ar un adeg oedd wedi ei golli’n llwyr, ac i’w hanes
a geir yn yr arddangosfa hon.Y cyntaf yw mytholeg ac adrodd straeon, yr ail yw’r corff
teuluol hithau.
dynol a’r trydydd yw clai. Mae’r llwyfan lled-ddomestig yma’n diffinio’r cartref fel man ble y caiff straeon eu hadrodd; man gaiff ei fywiogi gan bresenoldeb y corff dynol.
Mae hanes clai mewn mytholeg a mowldio mytholeg mewn clai yn cael ei barhau yng ngwaith Audrius Janušonis. Mae gwaith Janušonis Take a rib make a woman (2010) yn
The warm-veined double of Time
dechrau â chyfeiriad at hanes yn y Beibl am Dduw yn creu cymar i Adda trwy gymryd un o’i asennau i greu Efa. Mae’r Duw a welwn yma’n ymddangos fel pe bae’n myfyrio’n
Mae gwaith Claire Curneen yn gweithredu fel ffocws ar gyfer yr arddangosfa,
ddwys, ei dalcen wedi rhychu â phryder a phwysau canolbwyntio. Mae Janušonis yn
canolbwynt y mae syniadau am y corff, y ffigwr ddynol, naratif ac adrodd straeon yn
cymryd y cysyniad o Dduw hollalluog a hollwybodol ac yn trawsnewid y ffigwr yma’n
pelydru ohono. Â’i ffigyrau o seintiau a dynion a menywod â wynebau o flodau, bydd
ddelwedd llawer mwy dynol o Dduw, Duw sydd yn gofidio efallai am yr hyn y mae ar
Claire yn ein denu i mewn i fyd yn llawn mytholeg ac adrodd straeon sy’n canolbwyntio
fin ei wneud. Daw yr hanes yma am yr asen, o’i ddirwyn yn ôl un cam, â ni at y myth
ar y corff dynol a’r corff fel man cychwyn ar gyfer ymchwiliad artistig sy’n dwyn ynghyd
o greu’r corff mewn clai ac mae’n creu ymdeimlad o natur hollgyffredinol clai. Yn y
holl waith yr artistiaid eraill yn yr arddangosfa hon.
traddodiad Cristnogol lluniodd Duw ddyn o glai.Yn yr un modd rhoddir tasg i’r Titan Promethews i fowldio dynolryw o glai; wedi iddo lunio dyn o’r mwd mae Athena,
Mae Lowri Davies yn rhoi presenoldeb materol i’r byrhoedlog, i ddefod a berfformiwyd
duwies doethineb, yn anadlu bywyd i mewn i’r clai. Yn y Qur’an mae Duw yn llunio
ar draws Cymru ganrif yn ôl, â’i gwaith newydd sy’n cyfeirio at draddodiadau cerddorol
clai yn ffurf dynol ac yn anadlu’r enaid i mewn iddo. Mae Janušonis yn cyfleu ymdeimlad
Cymreig a phasio hanesion trwy deuluoedd. Mae gwreiddiau Pulli Cantus (2012) yn y
o natur hollgyffredinol diwylliannol clai ac addasrwydd dehongli’r cyflwr dynol, sydd
blygain, gwasanaeth carolau a gynhelwyd yn wreiddiol mewn eglwysi plwyf yn oriau
fyth yn bell o’r wyneb yn ei gerfluniau, mewn clai, deunydd sydd wedi ei gysylltu mor
mân bore Nadolig. Byddai’r gynulleidfa’n dod â chanhwyllau gyda hwy i oleuo’r eglwys
agos â llunio ein cyrff ninnau.
22 WHEN I WOKE
WHEN I WOKE 23
Everybody’s earth.
And the coins on my eyelids sang like shells.
Mae presenoldeb y crefftwr a gweithredoedd dynol ar glai yn ganolog i waith Sam
Mae archwiliad Tamsin van Essen o’r corff yn uniongyrchol a phybyr. Yn 2008–10
Bakewell, gan y bydd yn defnyddio ei gorff fel arf i ffurfio a thrin darnau o glai. Mae
cynhyrchodd gyfres o fasys a gomisiynwyd gan y Wellcome Foundation. Mae rhan o’r
ffurfiau Bakewell yn ein hatgoffa o weithiau Giuseppe Penone ac Andrew Lord. Roedd
gyfres yma, Psoriasis 2 (2010), yn jar apothecari hynod o gain sy’n adleisio croen sy’n
cyfres Penone o ffurfiau clai Breaths (tua 1970) yn dwyn ôl ei gorff yn ei ddillad.
fflawio ac yn cyfeirio at ffaeleddau’r corff dynol. Mae’n anorfod bod y ffaeleddau hyn
Defnyddiodd Andrew Lord yntau ei gorff i ffurfio’r clai; yn Smelling, Swallowing a Tasting
yn lleddfu’r awydd dynol am anfarwoldeb ac yn hytrach y dylid croesawu byrhoedledd
(1996–1998), mae Lord yn dehongli prosesau’r corff.Tra bod cynsail ar gyfer defnyddio’r
ac ansefydlogrwydd bywyd.Yn union fel y mae’r gwaith hwn yn gwegian ar fin chwalu’n
corff i siapio’r clai, ’dyw gwaith Bakewell, Wholly Other (2011), ddim mor llythrennol.
llwyr, mae’n ymddangos fel y gallai un chwa ddinistrio’r arwyneb, felly mae van Essen
Yn hytrach mae Wholly Other yn ymddangos fel darn abstract o glai sydd wedi cael ei
yn ein hatgoffa am freuder y corff dynol. Caiff y breuder yma ei fynegi mewn nifer o
ysigo ac sydd wedi datblygu ffawtliniau o ganlyniad i rym anhysbys. Ac eto mae corff yr
fythau a straeon.Ym mytholeg Yr Aifft caiff Osiris ei dynnu’n bedwar aelod a phen yn
artist yn bresennol yn y gwaith, wedi ei gynrychioli yn agennau a ffurfiau’r clai. Dyma
union fel y caiff Actaeon, yr heliwr anffodus, ei larpio gan gwn ˆ ym mytholeg Groeg.
agwedd reddfol tuag at gynrychioli’r corff, a pha ddeunydd gwell i gyfleu annibendod a
Ym Metamorphoses Ovid mae’r corff dynol yn newidiol, yn ansefydlog, ac yn aml yn
newidioldeb y corff dynol na chlai?
newid yn groes i ewyllys y person ei hun.Yng ngwaith van Essen gwelwn ddatblygiad o’r cysyniad a gyflwynwyd gan Anton Ehrenzweig yn The Hidden Order of Art (1967),
Bydd James Page hefyd yn archwilio diddordeb byw ym mhosibiliadau clai a’i berthynas
bod yr elfen hwnnw o’r cyflwr dynol sydd yn dymuno ‘hollalluogrwydd ac anfarwoldeb’
â deunyddiau eraill. Mae ei wrthrychau dyrys a rhyfedd yn gwrthod datgelu eu diben,
yn cael ei ‘lesteirio gan gyfyngiadau realiti’.
ond trwy eu dyrchafu ar bedestalau asgetic sy’n fanwl geometrig, mae’n gwneud i’r ffurfiau annaearol, lled-adnabyddadwy hyn lawenychu yn eu materoldeb. Mae’r
Mae Lina Peterson, yr unig emydd yn yr arddangosfa, yn parhau i archwilio thema’r
cyferbyniad rhwng y ffurfiau cyhyrog, bras a’r dur yn drawiadol. Mae ei ddefnydd o glai
corff a chelfyddyd.Yn aml bydd adlewyrchiadau wedi eu hystumio, pur anaml y byddant
du yn Land I (2011) a Land II (2011) yn fynegiant o bosibiliadau gwahanol ddeunyddiau,
yn adlewyrchu realiti yn ei gyfanrwydd; caiff hyn ei gyfleu’n huawdl yn y darnau
a bwysleisir trwy leoli’r lympiau hyn o glai ar strwythurau dur manwl gywir.
gemwaith hudolus hyn. Rhoddodd Keats fynegiant i’r berthynas rhwng gemwaith a’r
24 WHEN I WOKE
WHEN I WOKE 25
Everybody’s earth.
And the coins on my eyelids sang like shells.
Mae presenoldeb y crefftwr a gweithredoedd dynol ar glai yn ganolog i waith Sam
Mae archwiliad Tamsin van Essen o’r corff yn uniongyrchol a phybyr. Yn 2008–10
Bakewell, gan y bydd yn defnyddio ei gorff fel arf i ffurfio a thrin darnau o glai. Mae
cynhyrchodd gyfres o fasys a gomisiynwyd gan y Wellcome Foundation. Mae rhan o’r
ffurfiau Bakewell yn ein hatgoffa o weithiau Giuseppe Penone ac Andrew Lord. Roedd
gyfres yma, Psoriasis 2 (2010), yn jar apothecari hynod o gain sy’n adleisio croen sy’n
cyfres Penone o ffurfiau clai Breaths (tua 1970) yn dwyn ôl ei gorff yn ei ddillad.
fflawio ac yn cyfeirio at ffaeleddau’r corff dynol. Mae’n anorfod bod y ffaeleddau hyn
Defnyddiodd Andrew Lord yntau ei gorff i ffurfio’r clai; yn Smelling, Swallowing a Tasting
yn lleddfu’r awydd dynol am anfarwoldeb ac yn hytrach y dylid croesawu byrhoedledd
(1996–1998), mae Lord yn dehongli prosesau’r corff.Tra bod cynsail ar gyfer defnyddio’r
ac ansefydlogrwydd bywyd.Yn union fel y mae’r gwaith hwn yn gwegian ar fin chwalu’n
corff i siapio’r clai, ’dyw gwaith Bakewell, Wholly Other (2011), ddim mor llythrennol.
llwyr, mae’n ymddangos fel y gallai un chwa ddinistrio’r arwyneb, felly mae van Essen
Yn hytrach mae Wholly Other yn ymddangos fel darn abstract o glai sydd wedi cael ei
yn ein hatgoffa am freuder y corff dynol. Caiff y breuder yma ei fynegi mewn nifer o
ysigo ac sydd wedi datblygu ffawtliniau o ganlyniad i rym anhysbys. Ac eto mae corff yr
fythau a straeon.Ym mytholeg Yr Aifft caiff Osiris ei dynnu’n bedwar aelod a phen yn
artist yn bresennol yn y gwaith, wedi ei gynrychioli yn agennau a ffurfiau’r clai. Dyma
union fel y caiff Actaeon, yr heliwr anffodus, ei larpio gan gwn ˆ ym mytholeg Groeg.
agwedd reddfol tuag at gynrychioli’r corff, a pha ddeunydd gwell i gyfleu annibendod a
Ym Metamorphoses Ovid mae’r corff dynol yn newidiol, yn ansefydlog, ac yn aml yn
newidioldeb y corff dynol na chlai?
newid yn groes i ewyllys y person ei hun.Yng ngwaith van Essen gwelwn ddatblygiad o’r cysyniad a gyflwynwyd gan Anton Ehrenzweig yn The Hidden Order of Art (1967),
Bydd James Page hefyd yn archwilio diddordeb byw ym mhosibiliadau clai a’i berthynas
bod yr elfen hwnnw o’r cyflwr dynol sydd yn dymuno ‘hollalluogrwydd ac anfarwoldeb’
â deunyddiau eraill. Mae ei wrthrychau dyrys a rhyfedd yn gwrthod datgelu eu diben,
yn cael ei ‘lesteirio gan gyfyngiadau realiti’.
ond trwy eu dyrchafu ar bedestalau asgetic sy’n fanwl geometrig, mae’n gwneud i’r ffurfiau annaearol, lled-adnabyddadwy hyn lawenychu yn eu materoldeb. Mae’r
Mae Lina Peterson, yr unig emydd yn yr arddangosfa, yn parhau i archwilio thema’r
cyferbyniad rhwng y ffurfiau cyhyrog, bras a’r dur yn drawiadol. Mae ei ddefnydd o glai
corff a chelfyddyd.Yn aml bydd adlewyrchiadau wedi eu hystumio, pur anaml y byddant
du yn Land I (2011) a Land II (2011) yn fynegiant o bosibiliadau gwahanol ddeunyddiau,
yn adlewyrchu realiti yn ei gyfanrwydd; caiff hyn ei gyfleu’n huawdl yn y darnau
a bwysleisir trwy leoli’r lympiau hyn o glai ar strwythurau dur manwl gywir.
gemwaith hudolus hyn. Rhoddodd Keats fynegiant i’r berthynas rhwng gemwaith a’r
24 WHEN I WOKE
WHEN I WOKE 25
corff, ac yn The Eve of St Agnes mae’n disgrifio menyw ifanc yn diosg ei gemau: as she unclasps her warmed jewels one by one, they retain the heat of her body.Trwy ei thrawsnewidiad o ddeunyddiau cyffredin fel leimwydd, pren haenog, resin, cregynnen, paent a dur gloyw yn emwaith mae casgliad Peterson, sef Reflections (2011), yn adlewyrchu effaith trawsnewidiol y corff dynol ar emau.
Dinned alongside the coiling crowd.
eu gosod mewn sefyllfa gyfarwydd yn pwysleisio eu hynodrwydd. Waeth os yw’r gwrthrychau hyn yn siarad mewn iaith yr ydym yn ei hadnabod ai peidio, mae’n bleser gwrando am rhythm ac alaw’r hyn sydd ganddynt i’w ddweud.
Diolchiadau Hoffwn ddiolch i’r Dr Ashim Bettadapura am ei gymorth craff a charedig wrth ddatblygu’r traethawd hwn.
O’r corff dynol i ffigyrau anthropomorffig, mae Crowd (2011) Sophie Woodrow wedi ei greu o gr wp ˆ o greaduriaid sy’n cydasio delweddaeth dynol ac anifeilol. Mae eu ffurf yn awgrymu gr wp ˆ o jariau canopig sy’n cynnwys ymysgaroedd corff dychmygol. Mae Crowd hefyd yn galw i gof y posibilrwydd y gallai ‘duwiau hen a brwnt’ Freud, yr amrywiol gerfluniau bychain hynafol a gadwai ar ei ddesg, ddod yn fyw. Mae un o’r ffigyrau hyn yn ein harwain yn ôl i’r dechrau at hanesion Cymru arweiniodd y ffordd at waith newydd, arbrofol Lowri Davies; wedi ei orchuddio â llawer o flagur bychain bach, mae’r ffigwr yma’n dwyn i gof chwedl Blodeuwedd, y ferch a grëwyd o flodau.
I heard, this morning, waking, Crossly out of the town noises Mae When I Woke yn gasgliad o weithiau sy’n synhwyrus, naratif a llawn mynegiant. Weithiau’n anesboniadwy, yn cyfateb yn weledol i ‘out of the town noises’Thomas, mae
26 WHEN I WOKE
WHEN I WOKE 27
corff, ac yn The Eve of St Agnes mae’n disgrifio menyw ifanc yn diosg ei gemau: as she unclasps her warmed jewels one by one, they retain the heat of her body.Trwy ei thrawsnewidiad o ddeunyddiau cyffredin fel leimwydd, pren haenog, resin, cregynnen, paent a dur gloyw yn emwaith mae casgliad Peterson, sef Reflections (2011), yn adlewyrchu effaith trawsnewidiol y corff dynol ar emau.
Dinned alongside the coiling crowd.
eu gosod mewn sefyllfa gyfarwydd yn pwysleisio eu hynodrwydd. Waeth os yw’r gwrthrychau hyn yn siarad mewn iaith yr ydym yn ei hadnabod ai peidio, mae’n bleser gwrando am rhythm ac alaw’r hyn sydd ganddynt i’w ddweud.
Diolchiadau Hoffwn ddiolch i’r Dr Ashim Bettadapura am ei gymorth craff a charedig wrth ddatblygu’r traethawd hwn.
O’r corff dynol i ffigyrau anthropomorffig, mae Crowd (2011) Sophie Woodrow wedi ei greu o gr wp ˆ o greaduriaid sy’n cydasio delweddaeth dynol ac anifeilol. Mae eu ffurf yn awgrymu gr wp ˆ o jariau canopig sy’n cynnwys ymysgaroedd corff dychmygol. Mae Crowd hefyd yn galw i gof y posibilrwydd y gallai ‘duwiau hen a brwnt’ Freud, yr amrywiol gerfluniau bychain hynafol a gadwai ar ei ddesg, ddod yn fyw. Mae un o’r ffigyrau hyn yn ein harwain yn ôl i’r dechrau at hanesion Cymru arweiniodd y ffordd at waith newydd, arbrofol Lowri Davies; wedi ei orchuddio â llawer o flagur bychain bach, mae’r ffigwr yma’n dwyn i gof chwedl Blodeuwedd, y ferch a grëwyd o flodau.
I heard, this morning, waking, Crossly out of the town noises Mae When I Woke yn gasgliad o weithiau sy’n synhwyrus, naratif a llawn mynegiant. Weithiau’n anesboniadwy, yn cyfateb yn weledol i ‘out of the town noises’Thomas, mae
26 WHEN I WOKE
WHEN I WOKE 27
The Works Y Gweithiau
The Works Y Gweithiau
CLAIRE CURNEEN 31
CLAIRE CURNEEN 31
LOWRI DAVIES 33
LOWRI DAVIES 33
AUDRIUS JANUŠONIS 35
AUDRIUS JANUŠONIS 35
36 AUDRIUS JANUŠONIS
AUDRIUS JANUŠONIS 37
36 AUDRIUS JANUŠONIS
AUDRIUS JANUŠONIS 37
SAM BAKEWELL 39
SAM BAKEWELL 39
40 SAM BAKEWELL
SAM BAKEWELL 41
40 SAM BAKEWELL
SAM BAKEWELL 41
JAMES PAGE 43
JAMES PAGE 43
44 JAMES PAGE
JAMES PAGE 45
44 JAMES PAGE
JAMES PAGE 45
TAMSIN VAN ESSEN 47
TAMSIN VAN ESSEN 47
48 TAMSIN VAN ESSEN
TAMSIN VAN ESSEN 49
48 TAMSIN VAN ESSEN
TAMSIN VAN ESSEN 49
LINA PETERSON 51
LINA PETERSON 51
52 LINA PETERSON
LINA PETERSON 53
52 LINA PETERSON
LINA PETERSON 53
SOPHIE WOODROW 55
SOPHIE WOODROW 55
56 SOPHIE WOODROW
SOPHIE WOODROW 57
56 SOPHIE WOODROW
SOPHIE WOODROW 57
List of Works 30
Claire Curneen, Builders (2011); Porcelain with gold lustre and thread.
31
Claire Curneen, Builders (detail); Porcelain with gold lustre and thread.
32 33
44 45
Lowri Davies, Pulli Cantus, (detail) (2012); Bone
Audrius Janušonis, Take a rib make a woman (2010);
47
Tamsin van Essen, Acne (pustules) (detail) (2010);
36
37
31
Claire Curneen, Builders (2011); Porslen gyda lystar
46
Tamsin van Essen, Acne (pustules) (2010); Serameg.
aur ac edau.
47
Tamsin van Essen, Acne (pustules) (manylyn) (2010);
Claire Curneen, Builders (manylyn); Porslen gyda lystar aur ac edau.
Ceramic. 48
Tamsin van Essen, Cancer (5-cell) (2010); Serameg.
49
Tamsin van Essen, Syphilis 1 (2010); Ceramic.
50
32
Lowri Davies, Pulli Cantus (2012); Clai Tseina.
33
Lowri Davies, Pulli Cantus (manylyn) (2012); Clai
34
Lina Peterson, Reflection (detail) (2011); Painted
35
Tamsin van Essen, Syphilis 1 (2010); Serameg.
50
Lina Peterson, Reflection (2011); Pren haenog wedi’i
36
baentio, cragen berlog, metel gwyn gwerthfawr, dur di-staen. 51
Lina Peterson, Reflection (manylyn) (2011); Pren haenog wedi’i baentio, cragen berlog, metel gwyn gwerthfawr, dur di-staen.
Audrius Janušonis, Full moon reflections (2011);
52
Lina Peterson, Just like me (2011), Carved (2011);
Audrius Janušonis, Full moon reflections (2011);
plywood, mother of pearl shell, precious white
Ceramic.
metal, stainless steel.
37
Audrius Janušonis, Orpheus (2010); Serameg a llinyn.
hailgyfansoddi, pren calch wedi’i baentio, resin, metel gwyn gwerthfawr, dur di-staen.
Audrius Janušonis, Orpheus (2010); Ceramic and
Serameg.
38
Sam Bakewell, Wholly Other (2011); Clai.
Painted plywood, reconstituted coral beads, painted
39
Sam Bakewell, Wholly Other (2011); Clai.
38
Sam Bakewell, Wholly Other (2011); Clay.
lime wood, resin, precious white metal, stainless steel.
40
Sam Bakewell, Wholly Other (2011); Clai.
39
Sam Bakewell, Wholly Other (2011); Clay.
40
Sam Bakewell, Wholly Other (2011); Clay.
43
49
(manylyn) (2010); Serameg.
Lina Peterson, Just like me (2011) Carved (2011);
42
Tamsin van Essen, Cancer (5-cell) (2010); Serameg.
Audrius Janušonis, Take a rib make a woman
string.
41
48
Audrius Janušonis, Take a rib make a woman (2010); Serameg.
steel. 51
Serameg.
Tseina.
Lina Peterson, Reflection (2011); Painted plywood, mother of pearl shell, precious white metal, stainless
Audrius Janušonis, Take a rib make a woman (detail) (2010); Ceramic.
30
James Page, Land I (detail) (2011); Black clay, steel. Tamsin van Essen, Acne (pustules) (2010); Ceramic.
Ceramic. 35
James Page, Land I (2011); Black clay, steel.
46
Lowri Davies, Pulli Cantus (2012); Bone China.
China. 34
Rhestr y Gweithiau
52
53
Lina Peterson, Carved (2011), Reflection (2011); Painted lime wood, resin, painted plywood, mother of pearl shell, precious white metal, stainless steel.
Sam Bakewell, Wholly Other (2011); Clay. 54
Sophie Woodrow, Crowd (2011); Porcelain.
graphite, steel, plaster, polyurethane foam.
55
Sophie Woodrow, Crowd (2011); Porcelain.
James Page, Land II (detail) (2011); Pewter, black
56
Sophie Woodrow, Crowd (2011); Porcelain.
clay, graphite, steel, plaster, polyurethane foam.
57
Sophie Woodrow, Crowd (2011); Porcelain.
James Page, Land II (2011); Pewter, black clay,
58 WHEN I WOKE
41
Sam Bakewell, Wholly Other (2011); Clai.
42
James Page, Land II (2011); Piwter, clai du, graffit,
Pren haenog wedi’i baentio, gleiniau cwrel wedi eu
53
Lina Peterson, Carved (2011), Reflection (2011); Pren calch wedi’i baentio, resin, pren haenog wedi’i baentio, cragen berlog, metel gwyn gwerthfawr, dur di-staen.
54
Sophie Woodrow, Crowd (2011); Porslen.
James Page, Land II (manylyn) (2011); Piwter, clai
55
Sophie Woodrow, Crowd (2011); Porslen.
du, graffit, dur, plaster, llenwad polywrethan.
56
Sophie Woodrow, Crowd (2011); Porslen.
44
James Page, Land I (2011); Clai du, dur.
57
Sophie Woodrow, Crowd (2011); Porslen.
45
James Page, Land I (manylyn) (2011); Clai du, dur.
dur, plaster, llenwad polywrethan. 43
WHEN I WOKE 59
List of Works 30
Claire Curneen, Builders (2011); Porcelain with gold lustre and thread.
31
Claire Curneen, Builders (detail); Porcelain with gold lustre and thread.
32 33
44 45
Lowri Davies, Pulli Cantus, (detail) (2012); Bone
Audrius Janušonis, Take a rib make a woman (2010);
47
Tamsin van Essen, Acne (pustules) (detail) (2010);
36
37
31
Claire Curneen, Builders (2011); Porslen gyda lystar
46
Tamsin van Essen, Acne (pustules) (2010); Serameg.
aur ac edau.
47
Tamsin van Essen, Acne (pustules) (manylyn) (2010);
Claire Curneen, Builders (manylyn); Porslen gyda lystar aur ac edau.
Ceramic. 48
Tamsin van Essen, Cancer (5-cell) (2010); Serameg.
49
Tamsin van Essen, Syphilis 1 (2010); Ceramic.
50
32
Lowri Davies, Pulli Cantus (2012); Clai Tseina.
33
Lowri Davies, Pulli Cantus (manylyn) (2012); Clai
34
Lina Peterson, Reflection (detail) (2011); Painted
35
Tamsin van Essen, Syphilis 1 (2010); Serameg.
50
Lina Peterson, Reflection (2011); Pren haenog wedi’i
36
baentio, cragen berlog, metel gwyn gwerthfawr, dur di-staen. 51
Lina Peterson, Reflection (manylyn) (2011); Pren haenog wedi’i baentio, cragen berlog, metel gwyn gwerthfawr, dur di-staen.
Audrius Janušonis, Full moon reflections (2011);
52
Lina Peterson, Just like me (2011), Carved (2011);
Audrius Janušonis, Full moon reflections (2011);
plywood, mother of pearl shell, precious white
Ceramic.
metal, stainless steel.
37
Audrius Janušonis, Orpheus (2010); Serameg a llinyn.
hailgyfansoddi, pren calch wedi’i baentio, resin, metel gwyn gwerthfawr, dur di-staen.
Audrius Janušonis, Orpheus (2010); Ceramic and
Serameg.
38
Sam Bakewell, Wholly Other (2011); Clai.
Painted plywood, reconstituted coral beads, painted
39
Sam Bakewell, Wholly Other (2011); Clai.
38
Sam Bakewell, Wholly Other (2011); Clay.
lime wood, resin, precious white metal, stainless steel.
40
Sam Bakewell, Wholly Other (2011); Clai.
39
Sam Bakewell, Wholly Other (2011); Clay.
40
Sam Bakewell, Wholly Other (2011); Clay.
43
49
(manylyn) (2010); Serameg.
Lina Peterson, Just like me (2011) Carved (2011);
42
Tamsin van Essen, Cancer (5-cell) (2010); Serameg.
Audrius Janušonis, Take a rib make a woman
string.
41
48
Audrius Janušonis, Take a rib make a woman (2010); Serameg.
steel. 51
Serameg.
Tseina.
Lina Peterson, Reflection (2011); Painted plywood, mother of pearl shell, precious white metal, stainless
Audrius Janušonis, Take a rib make a woman (detail) (2010); Ceramic.
30
James Page, Land I (detail) (2011); Black clay, steel. Tamsin van Essen, Acne (pustules) (2010); Ceramic.
Ceramic. 35
James Page, Land I (2011); Black clay, steel.
46
Lowri Davies, Pulli Cantus (2012); Bone China.
China. 34
Rhestr y Gweithiau
52
53
Lina Peterson, Carved (2011), Reflection (2011); Painted lime wood, resin, painted plywood, mother of pearl shell, precious white metal, stainless steel.
Sam Bakewell, Wholly Other (2011); Clay. 54
Sophie Woodrow, Crowd (2011); Porcelain.
graphite, steel, plaster, polyurethane foam.
55
Sophie Woodrow, Crowd (2011); Porcelain.
James Page, Land II (detail) (2011); Pewter, black
56
Sophie Woodrow, Crowd (2011); Porcelain.
clay, graphite, steel, plaster, polyurethane foam.
57
Sophie Woodrow, Crowd (2011); Porcelain.
James Page, Land II (2011); Pewter, black clay,
58 WHEN I WOKE
41
Sam Bakewell, Wholly Other (2011); Clai.
42
James Page, Land II (2011); Piwter, clai du, graffit,
Pren haenog wedi’i baentio, gleiniau cwrel wedi eu
53
Lina Peterson, Carved (2011), Reflection (2011); Pren calch wedi’i baentio, resin, pren haenog wedi’i baentio, cragen berlog, metel gwyn gwerthfawr, dur di-staen.
54
Sophie Woodrow, Crowd (2011); Porslen.
James Page, Land II (manylyn) (2011); Piwter, clai
55
Sophie Woodrow, Crowd (2011); Porslen.
du, graffit, dur, plaster, llenwad polywrethan.
56
Sophie Woodrow, Crowd (2011); Porslen.
44
James Page, Land I (2011); Clai du, dur.
57
Sophie Woodrow, Crowd (2011); Porslen.
45
James Page, Land I (manylyn) (2011); Clai du, dur.
dur, plaster, llenwad polywrethan. 43
WHEN I WOKE 59
when I woke
Llantarnam Grange Arts Centre Canolfan y Celfyddydau Llantarnam Grange