Monday, 11 November 2024

Hafod Residency (2024)



Three weeks at Hafod Art Studio in Eryri National Park through June and July, thanks to Noelle Griffiths, gave me the chance to set aside projects and plans, and just see what the place gave rise to. It was a pleasure to connect with arts organisations and communities in the area through a talk and workshop, but the rest of the time I was able to experience something of a mini-retreat, feeling the ground beneath my feet, letting my mind wander and being open to the unexpected.


self portrait with viewing device 

Without a car, and deliberately minimising use of a mobile phone, most of my time was spent outdoors - walking the 30k Dyffryn Maentwrog / Llyn Mair footpath network surrounding the studio and indoors - trying to find some kind of visual equivalent to my experiences of nature, industrial heritage and, most of all, weather.


One of the unexpected difficulties of a residency, for me at least, is knowing what to take with me. I had all sorts of ideas about what materials I would use, but left most of them at home. On a hunch though I did take a few old projector parts – a gift from Pascal Dubois. I had an idea that they would help me take a closer look but also indicate the distance that can’t be avoided in an outsider view of place. 

 

Pascal's gift at Hafod

Lenses and viewing devices have been a part of my work in various ways over the years - often cats’ eyes - and I was thinking very much about ideas of who or what constitutes an insider or outsider that Caroline Wright and I had explored in Binocular.



At first I tried holding the lenses and videoing at the same time: the roughness and immediacy was interesting, but also irritating. Using a tripod gave more clarity but was boring, so I devised a horizontal viewing device to see if I could get a satisfying balance.



Viewing device at viewing point


As well as the natural environment, I was drawn to the Ffestiniog Railway that runs across the mynydd, which connects to key themes in my work of industry and tourism. Originally it transported slate from Blaenau Ffestiniog to Porth Madog - and now carries tourists along the same route. 



I gathered vast amounts of digital material that will be combined in video in some way...



 probably in the heart of winter, when memories of Hafod and Noelle's generosity will help see me through the darkness.



I did also take paper, gouache and oil bars and on wet days worked in the studio, trying to capture something of my memories, emotions and physical sensations from the previous days.

1 of 12: oil bar & gouache over collagraph on paper (39x29cms)









 


 

A Private Land (2023)




A Private Land / Tir Diarffordd was a collaborative research and development project exploring geographical and psychological territories and the nature of the external and internal boundaries that may protect and / or restrict us. 



The focus was on the former Mid-Wales Hospital in Talgarth, crumbling and slowly being taken over by nature - a site of intense and complex emotional resonance for many different communities and groups. Entering imaginatively into the site and the hidden stories it suggests, we invited the voices of people who have experienced mental health issues there or do so currently in the community.



A full account of all the collaborations, workshops and participatory events can be seen on 

a-n artist-information company blog. The project and collaborations gave rise to multiple visual responses (described in another post on the a-n blog) but I also found myself turning to video as a way of channelling some of the very profound feelings evoked by the site and histories associated with it.


The video sequence is in the form of 6 chapters, and is dedicated to the memory of over 1000 former residents, whose unmarked graves lie below a jumble of vegetation, and a disused car park. Chapter 4 - Shelter / Noddfa can be seen hereBelow are a few stills from the full 30 minute video

Search / Chwilio


In / I mewn

Out / Allan

Shelter / Noddfa

Guardian / Warchodwr

Flowers / Blodau







 


Lost in Transit (2023)


Curated by Alex Boyd Jones, the intention of this exhibition was to re-imagine some of the ‘hazy, distorted, incomplete or absent narratives’ of the historic Carriageworks - a site of manufacture in the heart of Denbigh and now studioMADE with Angela Davies and Mark Eaglen

Metal remnants of the undercarriages seemed to me like the negative space of what they supported in terms of upholstery and human cargo and suggestive of the interconnection between human, animal and machine within past manufacture in the building. 

initial sketches: acrylic ink on photo paper
led to digital collages
 leading to drawings on board (below 81x122.5cms), supported by horse remains found in the Black Mountains. I was thinking more about labour, about who carries whom: about the toll on bodies and flesh (whether person or horse) and equine contributions to manufacture in raw material such as glue, horse hair stuffing.



Meanwhile horsehair sourced byAlex and from stables near my home and studio inspired me to try traditional braiding as done on horse tails, with frames inherited from my family.

A blending of personal and researched narratives was amplified by a bereavement during this process. I thought of mourning jewellery using human hair, and my worked horsehair pieces became a way of trying to hold in mind and honour the lives and labour that were part of the Carriageworks story. 

detail of one work, showing inclusion of a tiny piece of human hair memorial jewellery 

Now they are a kind of memorial to all the sharing, learning and fun of the Lost in Transit project with every-one involved, not least fellow artists Louise Short and Zoe Preece

Sunday, 10 November 2024

Our Picturesque Landscape (2022)

I often use the myriorama format as a way or combining interconnecting systems: environment, nature, industry, tourism, agriculture, psychology and art. Previous myriorama projects are: Connectives (2020) and Materials from the Garden (2021)

A myriorama - meaning multiple views - is a set of cards depicting interchangeable paintings of picturesque landscape that can be rearranged to create a near-endless variety of cohesive scenes. 

Leigh / Clarke Myriorama (1824) I was given this original set as a child

Myrioramas became a popular craze across Europe in the early 1800s providing entertainment as well as a means of learning about aesthetics just as tourism was developing and as ideas of picturesque and sublime were being challenged by profound changes due to industrial and agricultural revolution. 

I was commissioned by Our Picturesque Project to make a myriorama to include picturesque aspects and archetypal features of the Dee valley AONB whilst introducing elements that reflect the dilemmas and pressures of intense and often conflicting demands: to notice the barriers between marginal communities and the heritage sites and to help make connections between them. 

These are some of the research materials gathered during a four day residency phase:

Newbridge still cut off in 2024 due to road subsidence in 2021

Cefn Mawr cut off by the dangerously polluted former Monsanto Chemical works.

Canal and river water flanking the ultimate picturesque view from Dinas Bran, with anti-erosion measures. 

Video/projection of water from Horseshoe Falls, the feeder weir for the Llangollen Canal, onto old glass bottles found on domestic and workers' refuse tips at Corwen and Glyndyfrdwy.

Eight of the final 14 drawings (each 218x76cms, crayon, charcoal, black chalk on paper). 
To see an animation of the whole myriorama go to:

The myriorama offers a framework to respond imaginatively to diverse sites, combining views of iconic features alongside elements, structures, objects and natural processes that may be hidden or more easily overlooked. It can speak of entrenched histories and ways of seeing, but it can also inspire us to tell new stories, imagine together different actions, choices and futures in a time of climate and environmental emergency. 

shown as part of the OPL exhibition, Llangollen 2023. 

Wednesday, 28 August 2024

The Future of the Universe (2022)


The Future of the Universe / Mae Dyfodol y Bydysawd is a 5 minute karaoke-inspired video, created in collaboration with Megan Arnold. Our creative partnership grew out of a commission to make experimental new work as part of a digital / online project hosted by Elysium Gallery in Swansea and International Institute for Critical Studies in Improvisation. It was shown as part of Elysium Gallery's contribution to IICSI's Improvisation Festival 2022. 



The project invited us to reframe the past and imagine emerging futures. Megan was starting from her explorations of humour, slapstick, performance and astrology and I from my observations and interpretations of the way power and hierarchies are laid out in the land. 


Which, of this project meant using footage of road markings and cats' eyes, flipped to the roadside by traffic,  shining out of their allocated place, like will o the wisps. Megan sent me video of a performance against a green screen which I mixed and edited in FCP.


Together we thought about ideas of predestination and freedom, and the possibilities of breaking through and beyond expected channels, personally and societally. With a mutual interest in play, accident and risk as integral to the creative process we started to share visual experiments with no idea of where they might lead us. 


Gradually over the six months of the project, the visual material melded and condensed into the 5 minute video, set to Megan's music along with lyrics in Welsh and English that arose in the course of our discussions and exchanges. 



Without being explicit, international events over the course of the partnership are incorporated in the work, so that for us, it reflects global as well as deeply personal experiences or themes, played out in an imaginary (but perhaps visionary?) intergalactic arena.


The video can be seen here: https://vimeo.com/1003162645
Later it was shown at Ed Video Media Arts Centre, Guelph, Ontario, Canada  and at a snow viewing(!) at The Cloud Factory, Newfoundland, Canada