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MAKERS - ARTISTS - DESIGNERS - ENTERPRISE

MAKERS - ARTISTS - DESIGNERS - ENTERPRISEMAKERS - ARTISTS - DESIGNERS - ENTERPRISEMAKERS - ARTISTS - DESIGNERS - ENTERPRISE

CURATOR AUR BLEDDYN

Artists Selected from Fine Arts BA Courses at the Aberystwyth School of Art & the Carmarthen School of Art 

 Mae proses a deunyddiau yn ganolog i sioeau gradd Celf Gain Aberystwyth a Chaerfyrddin eleni- gyda’r ffynhonnell faterol yn aml yn ran o’r gwaith neu wedi ososd gyfochr. Drwy ehangu prosesau traddodiadol mae deunyddiau sidet yn cael eu hymestyn i archwilio cymhlethdod profiadau dynol ar raddfa bersonnol.


Yn retro ac yn fodern, mae paentiadau Paula Topham (Aberystwyth) yn plethu’r hen a’r newydd. Gan ymwrthod â’r dechnoleg ddigidol o greu gludwaith, mae proses yr Artist yn ymddangos yn amlwg yn y gwaith. Mae’r Artist yn troi’n ôl at hen arfer o dorri a gludo â

llaw i greu delwedd newydd.


 Nid gludwaith taclus i geisio twyllo’r edrychwr sydd yma, ond gosodwaith chwareus i ddatgelu gwirioneddau profiadau dynol.  Delwedd newydd allan o hen luniau sy’n cael ei greu , drwy gyd-destunoli y cymeriadau yn uniongyrchol o fewn patrymau ar sgrapiau llieiniau bwrdd, papur wal a ffrogiau bob dydd eu cyfnod. Mae’r paentiadau’n wahoddiad i gamu mewn i fywydau a ddaliwyd mewn eiliad ar gamera.

Process and materials are central to this year's Aberystwyth and Carmarthen Fine Art degree shows - with the material source often being part of the work or placed with the work. By expanding traditional processes, mundane materials are extended to explore the complexity of human experiences on a personal scale.


The paintings of Paula Topham (Aberystwyth) both retro and modern, weave together the old and the new. The Artist’s process appears clearly in the work, rejecting the digital development of creating a collage.  The Artist returns to an old practice of cutting and pasting by hand to create a new image. 


This is not a neat attempt to deceive the viewer, but a playful collage to reveal the truths of human experiences. A new image out of old photos is created, by contextualising the characters directly within patterns on scraps of tablecloths, wallpaper and everyday dresses of their time. The paintings are an invitation to step into lives captured in a moment on camera.

Un arall sy’n ail gyd-destunoli y naratif drwy ludwaith traddodiadol o bensil ac acrylic ar bapur yw Gwilym Pearce Jones (Caerfyrddin). Drwy ail ymweld â delweddau crefyddol mae’n cyfuno’r gorffennol a’r presennol, gan ffurfio naratif newydd drwy ei baentiadau. Drwy arddull draddodiadol, mae’n gwthio’r deunydd i greu llinyn parhaol drwy’r oesoedd sy’n pontio ysgythrau â ffuglen gyfrifiadurol- gan orfodi bydoedd i gydweithio, i greu ansoddiad delfrydol. 


Fel albwm teulu hiraethus i dirluniau Aberystwyth, mae llyfr Artist Oscar Faulkner (Aberystwyth) yn dogfennu bregusrwydd y byd naturiol tu mewn i fframiau cyson. Mae’n chwyddo ffotograffau gan eu dal mewn amser, a’u gwarchod gan gloriau tynner brethyn o wair a gwallt dynol. Dyma grefftydd cywrain, sy’n gwthio ffiniau technegau traddodiadol o argraffu er mwyn llunio esblygiad naturiol o luniadau ar hyd tonnau’r papur. Rhwng y materioldeb a’r mater, mae’n newid y naratif rhwng dyn a thirlun. 



Mae’r gwaith detholedig yn dangos y chwant amlwg eleni am newid drwy ddychwelyd at ffyrdd traddodiadol o greu, torri a gludo, symud ac ailstrwythuro- creu gludwaith o naratif sy’n rhoi profiadau dynol a natur yn ganolog yn y stori.

Another Artist  who re-contextualises the narrative through traditional collage of pencil and acrylic on paper is Gwilym Pearce Jones (Carmarthen). By revisiting religious images he combines the past and the present, forming a new narrative through his paintings. Through a traditional style, he pushes the material to create a permanent thread through the ages that bridges scripture with computer fiction - forcing worlds to collide, to create an idealised composition.


Like a nostalgic family album to the landscapes of Aberystwyth,  Oscar Faulkner's (Aberystwyth) Artist book documents the vulnerability of the natural world within consistent frames. He magnifies photographs, capturing them in time, and protecting them between delicate covers made of grass and human hair. This is an intricate crafter, which pushes the boundaries of traditional printmaking in order to create a natural evolution of images along the peaks of the paper. Through the materiality and the matter, he changes the narrative between man and landscape.


The selected work shows this year’s desire for change by returning to traditional ways of creating, cutting and glueing, moving and restructuring - creating a collage of narrative that puts human experiences and nature at the centre of the story.

ABERYSTWYTH School of Art

"Mae’r Ysgol wedi’i lleoli mewn adeilad sy'n un o'r esiamplau gorau o bensaernïaeth yn Aberystwyth. Dathlodd adeilad Edward Davies, sy’n adeilad rhestredig, ei ganmlwyddiant yn 2007. Mae’n symbol urddasol o nod yr Ysgol i gyfuno’r traddodiadol â’r cyfoes.


Mae ymchwil ein staff - artistiaid sy’n arddangos, haneswyr celf sy’n cyhoeddi a churaduron sy’n gweithio yn y maes - yn ysbrydoli’r addysgu. Mae’n hyrwyddo meddwl beirniadol a rhyngddisgyblaethol, ac yn creu amgylchedd dysgu ysbrydoledig.


Yn ogystal â chynnig sylfaen gadarn mewn technegau a chyfryngau, mae’r cynllun hwn yn annog ailystyried sgiliau traddodiadol yng nghyd-destun arferion cyfoes, cysyniadol."

 "The Aberystwyth School of Art occupies one of the finest examples of architecture in Aberystwyth. Opened in 1907, the Edward Davies Building is an elegant symbol of the School's aim to bridge past and present by relating the tradition to contemporary practices.


The research of our staff of exhibiting artists, publishing art historians and practising curators actively informs our teaching. It promotes critical and interdisciplinary thinking and provides students with an inspiring learning environment. 


The Fine Art programme offer training that connects traditional skills with contemporary practice and theory. On completion of this degree, students emerge with real world capabilities, enabling them to pursue careers as artists, curators and educators."

Paula Topham

 Casgliad o baentiadau sy'n asio deunyddiau ac atgofion, wedi'u hysbrydoli gan ffotograffau y daethpwyd o hyd iddynt o'r 1970au. Mae'r delweddau aneglur, sy’n pylu o ran lliw, yn sbarduno atgofion coll o blentyndod a bywyd teuluol, trwy gipluniau cyffredin yr olwg. Gosodir y cyd-destun trwy gyfuno’r ffigurau coll hyn o fewn ffabrig gwreiddiol y cyfnod, fel ysbrydion mewn waliau ystafelloedd anghofiedig. Mae'r bobl a’r  patrymau yn cyfuno â’i gilydd, gan bylu'n ysgafn dros amser i'r dyluniadau.

//

 A collection of paintings fusing materials and memories, inspired by found photographs from the 1970s. These blurry, faded images trigger lost memories of childhood and family life, via snaps that are relatable in their ordinariness.

Context is given by combining these lost figures within the original fabrics of the era, like ghosts in the walls of forgotten rooms. The people merge into the patterns, fading gently over time into the designs.

 Mae'r cynfasau yn ceisio dyrchafu'r ciplun ffotograffig syml yn baentiad olew. Mae palet cyfyngedig a maint bychan y delweddau yn adlewyrchu agosatrwydd y  ffotograffau coll, gan ddod â nhw yn ôl yn fyw am eiliad mewn amser. Mae'r wynebau'n fwriadol niwlog i guddio hunaniaethau, a hefyd yn rhoi rhyddid i'r gwyliwr ddychmygu y gallent hwy yn lun o fewn y cynfas.

//

 The canvases attempt to elevate the simple photographic snapshot into an oil painting. A limited palette and diminutive size reflects the intimacy of lost photographs, bringing them back to life for a moment in time. The faces are deliberately blurred to conceal identities, and also allow the viewer the freedom to imagine that they themselves could be pictured in the canvas. 

Oscar Faulkner

Mae fy llyfrau a phrintiau'n archwilio'r tirwedd a'r corff dynol

trwy wahanol safbwyntiau, haenau, a defnyddiau. Mae’r ddelweddaeth

yn tarddu o ffotograffau a dynnwyd trwy ficrosgop, yn ogystal â

ffynonellau ail-law a’r dychymyg. Mae’r cloriau wedi eu llunio o ddeunyddiau organig ac yn ymwneud â thestun pob llyfr. 

//

 My books and prints explore the landscape and the human body

through different perspectives, layers, and materials. Their imagery

originates from photographs taken through a microscope, as well as

second-hand sources and imagination. Organic materials make up

the covers and relate to the subject of each book.

 Mae gwneud printiau addas ar gyfer gwneud llyfrau artistiaid. Er enghraifft, mae’r  broses ysgythru yn  helpu i greu cyfres newidiol o ddelweddau trwy ddefnyddio asid ac yn y cyrydiad o blatiau. Gall ffurf y  llyfr fod yn rhyngweithiol ac yn awgrymu naratif. Yma, maent yn cynnig sgwrs rhwng y tirwedd a'r corff, lle mae'r ddau yn byw, yn symud ac yn newid. 

//

  Printmaking is wellsuited to the making of artist’s books. For example, the etching processcan help to create a changing series of images through the use ofacid and in the corrosion of plates. The book form can be interactiveand suggests a narrative. Here, they offer a conversation between thelandscape and the body, where both are living, moving, and changing. 

Carmarthen School of Art

  "Mae Ysgol Gelf Caerfyrddin wedi bod yn darparu addysg Gelf ers 1854, fel un o'r Ysgolion Celf cyntaf i gael eu sefydlu ym Mhrydain yn dilyn yr Arddangosfa Fawr yn y Palas Grisial yn Llundain.


Byth ers hynny mae'r Ysgol wedi bod yn datblygu'n barhaus, wrth ymateb i ddatblygiadau cymdeithasol, creadigol a diwylliannol ac anghenion newidiol ei myfyrwyr, y diwydiant a'r gymuned ehangach.

Mae ein treftadaeth yn bwysig i ni ac mae hyn yn dylanwadu ar ethos ein Hysgol.


Mae rhaglen y Radd Ymarfer Celfyddyd Gain yn unigryw o fewn Cymru oherwydd cyfleusterau’r ffowndri bwrpasol a’r stiwdio brintiau ddynodedig. Mae'r cwrs yn rhoi pwyslais ar arbrofi mewn amgylchedd stiwdio cyffrous wedi’i gefnogi gan weithdai arbenigol; gan archwilio'r gorffennol i lywio ymarfer cyfoes."

 "The Carmarthen School of Art has been providing Art education since 1854, being one of the first Art Schools set up in Britain following the Great Exhibition in Crystal Palace in London.


The School has been continually evolving ever since, responding to social, creative and cultural developments and the changing needs of its students, industry and wider community. Our heritage is important to us and influences our School ethos.


 The Fine Art Practice Degree programme is unique within Wales due to the bespoke foundry and dedicated print studio facilities. The course has an emphasis on experimentation in an exciting studio environment supported by specialist workshops; exploring the past to inform contemporary practice."

Gwilym Pearce Jones

 Wrth dyfu i fyny heb fagwraeth grefyddol, roeddwn i'n dal i deimlo ei bresenoldeb. Cyfosodaf ei harddwch ag ymdeimlad trasig o allgáu, yn bersonol fel dyn hoyw a hefyd yn fyd-eang. Mae fy ngwaith fel collage wedi ei wneud o'r gorffennol a'r presennol, gan ail-destunoli ei naratifau trwy gymysgu gemau fideo fel The Sims gyda ffigurau a gymerwyd o weithiau celf hanesyddol.  

//

 Growing up without religious upbringing, I still felt its presence. I juxtapose its beauty with a tragic sense of exclusion, both personally as a gay man and also globally. My work is a collage made from the past and present, recontextualising its narratives by mixing video games like The Sims with figures taken from historical artworks. 

 Darganfodais hefyd am natur oesol ymraniad er gwaethaf y newidiadau dirfawr yn ein cymdeithas ar hyd y canrifoedd, er i mi ddod o hyd i adfywiad fy hun i’m hoffter o adrodd straeon trwy’r cyfrwng hwn. Mae'r cwestiynau sy'n eich dal y tu mewn i'r bydoedd rydw i wedi'u paentio yn rhai i chi eu gofyn yn rhydd. Gadewch iddynt fodoli fel mytholegau, gadewch iddynt gael eu bastardeiddio.

//

  They also stumbled upon the timeless nature of division despite the drastic changes in our society over the centuries, though I found a renaissance of my own for my love of story-telling through this medium. The questions that hold you inside the worlds I’ve painted are yours to ask freely. Let them exist as mythologies, let them be bastardised. 


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