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M.A.D.E. is proud to present new distinct bodies of work by Kaylee Francis, Ffion Denman, Tracy Harris and Jack Moyse, as part of our New Voices Creative programme, funded by the Arts Council of Wales.
This exhibition travels from the personal to the political, via process and narrative, with discomfort present within the magical.
How we are looked at, how we look at others, working with experience and empathy as important markers in parallel to aesthetics. Each artist brings a complexity of searching within the work, an emotional underpinning to examine societal systems and cultural intersections alongside wonder and the imaginary.
Mae’n bleser gan MADE gyflwyno casgliad newydd o waith gan Kaylee Francis, Ffion Denman, Tracy Harris a Jack Moyse, fel rhan o’n rhaglen New Voices Creative sydd wedi ei hariannu gan Gyngor Celfyddydau Cymru.
Drwy brosesau ymarferol a’r defnydd o naratif, mae’r arddangosfa’n trafod y personol a’r gwleidyddol, gyda phrofiadau anesmwyth ymhleth â’r hudolus. Sut mae eraill yn ein gweld ni, sut rydym ni’n gweld eraill, a’r defnydd o brofiad ac empathi fel elfennau pwysig ar y cyd ag aestheteg.Daw pob artist â chymlethdodau unigryw i’r gwaith, a chyd-destun emosiynol sydd yn eu galluogi i graffu ar systemau cymdeithasol a chroestoriadau diwyllianol yn gyfochr â’r byd dychmygol.
New Voices: Higgins '25 - In Conversation (Saturday 26.04.25, 6-8pm)
Join the artists currently featured in our show 'New Voices: Higgins '25' for an evening of discussion about the themes and process that have underpinned the work on show.
Kaylee Francis, Ffion Denman, Tracy Harris and Jack Moyse will be joined by mentors Abbie Trayler-Smith, Tudor Etchells and Michal Iwanowski for this event, with the discussion taking place from 6-8pm on Saturday 26.04.25.
Follow the link below to book a free ticket to this event.
The exhibiting artists worked in conversation with specific mentors, funded by Arts Council of Wales, to support experimentation and nurturing of new approaches within their work, beyond the parameters of traditional lens based practice.
This programme has developed through the Higgins Initiative which launched an open call in 2023, as a legacy project inspired by the Cardiff photographer and socialist, Tom Higgins.
Curated by Zoë Gingell, with mentoring from Jo Coates, Michal Iwanowski, Tudor Etchells, Aletheia Casey and Abbie Trayler-Smith.
Exhibition runs from 05.04.25 until 03.05.25.
Gyda chyllid gan Gyngor Celfyddydau Cymru, cafodd yr artistiaid gyfle i gydweithio â mentoriaid penodol er mwyn annog meddylfryd arbrofol ac i ddatblygu technegau newydd o fewn eu gwaith, y tu hwnt i ffiniau gwaith traddodiadol sy’n seiliedig ar lensys.
Mae’r rhaglen hon wedi ei datblygu drwy’r Higgins Initiative. Lansiwyd galwad agored ganddynt yn 2023, fel prosiect gwaddol i ddilyn yng nghamau’r ffotograffydd a’r sosialydd Tom Higgins o Gaerdydd.
Wedi ei guradu gan Zoë Gingell, a chyda mentora gan Jo Coates, Michal Iwanowski, Tudor Etchells, Aletheia Casey ac Abbie Trayler-Smith yn fentoriaid.
Bydd yr arddangosfa yn agored o 05.04.25 tan 03.05.25.
Working as a documentary photographer in Swansea, Kaylee is interested in exploring issues relating to the representation and misrepresentation of lower socio-economic communities. Her work explores the possibilities of using photography and activism for agency and social change.
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Mae Kaylee’n ffotograffydd dogfennol sy’n gweithio yn Abertawe, ac mae’n archwilio materion yn ymwneud â sut mae cymunedau cymdeithasol-economaidd is yn cael eu cynrychioli a’u camgynrychioli. Mae ei gwaith yn archwilio’r ffyrdd o ddefnyddio ffotograffiaeth a gweithredu er mwyn grymuso a gyrru newid cymdeithasol.
"On the outset of this project, my intent was to explore how the working class is represented in photography and the media. This relates directly to my artistic/personal practice, which focuses on experimenting with the representation of people and places I know well; including family, friends, and members of my community."
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"Fy mwriad i ar ddechrau’r brosiect oedd archwilio’r ffordd mae’r dosbarth gweithiol yn cael ei gynrychioli ym maes ffotograffiaeth ac yn y cyfryngau. Mae hyn yn uniongyrchol gysylltiedig â’m gwaith celfyddydol/personol, lle rwy’n ffocysu ar arbrofi gyda’r ffordd mae’r bobl a’r llefydd mwyaf cyfarwydd i mi, gan gynnwys teulu, ffrindiau a’m cymuned, yn cael eu cynrychioli."
"My aim is to create work that challenges the stereotyping of working-class communities. I believe the media often fails to recognise the impact of clichéd imagery, narratives, and misleading portrayals - it not only feeds our perception of others but, more importantly, influences our own sense of identity. "
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"Fy nod yw creu gwaith sy’n herio’r arfer o stereoteipio cymunedau’r dosbarth gweithiol. Yn aml, nid yw’r cyfryngau’n deall beth yw effaith delweddau ystrydebol, naratifau a chynrychiolaeth gamarweiniol - maen nhw’n lliwio ein canfyddiad o bobl eraill ond hefyd, yn bwysicach na hynny, yn dylanwadu ar ein synnwyr ein hunain o’n hunaniaeth. "
"As a child, I couldn’t wait to leave the estate, because of the weight of societal judgment and negative perceptions of council estates and the people who live there. However, now that I have a child of my own, I find myself reflecting on my views. I didn’t fully appreciate the strong sense of community I grew up within, but now I realise the true value of being raised there."
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"Fel plentyn, ro’n i ar bigau i adael yr ystad oherwydd y rhagfarn negyddol mae cymdeithas yn ei dal am ystadau cyngor a’r bobl sydd yn byw yno. Ond nawr bod gen i blentyn fy hun, rwy’n cael fy hun yn meddwl mwy am fy safbwyntiau. Ar y pryd, doeddwn i ddim yn gwerthfawrogi’n llwyr yr ymdeimlad cryf o gymuned oedd o fy nghwmpas, ond rwy’n gweld nawr pa mor werthfawr oedd cael fy magu yno."
"It was not only my parents and relatives but my whole community that had a significant role in my upbringing. We learnt to look out for each other, help each other in difficult times and celebrate each other’s successes. I want to create work that illustrates the everyday beauty that already exists in these people and places. Whilst I believe it’s vital to bring attention in order to portray the disadvantages in life, I believe it’s also important to recognise our advantages."
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"Yn ogystal â’m rhieni a’m perthnasau, roedd y gymuned gyfan yn rhan annatod o fy magwraeth. Roedden ni’n gofalu am ein gilydd, yn helpu ein gilydd drwy adegau anodd ac yn llawenhau yn ein llwyddiannau. Rydw i eisiau creu gwaith sy’n amlygu’r harddwch tawel sy’n bodoli yn y bobl a’r llefydd hyn. Er fy mod i’n grediniol ei bod yn hollbwysig tynnu sylw at anfanteision mewn bywyd, mae hefyd yn bwysig cydnabod ein manteision."
Jack Moyse, is an artist based in Swansea. His practice incorporates elements of photography, printmaking, performance and sculpture. His research focuses on the lived disabled experience, providing necessary insight and exposure into marginalised lives and addressing the oppressive systems encountered by disabled people.
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Mae Jack Moyse, a aned yn 1996, yn artist sydd wedi ei leoli yn Abertawe. Mae ei waith yn ymgorffori elfennau o ffotograffiaeth, creu printiau, perfformio a cherfluniaeth. Mae ei ymchwil yn canolbwyntio ar brofiadau pobl anabl, gan roi mewnwelediad ac amlygrwydd i fywydau pobl sydd ar y cyrion a mynd i’r afael â’r systemau gorthrymus y mae pobl anabl yn eu hwynebu.
“The British welfare state is a failing system. The acute risk of sounding neoliberal when making such statements is an irony not lost on me. To curtail your concerns, my worries relate to the effects of systemic failure on its dependents rather than from the perspective of a government hellbent on exploiting disabled people as a cost cutting exercise."
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“Mae gwladwriaeth les Prydain yn system ddiffygiol. Mae’r risg o swnio’n neoryddfrydol wrth wneud datganiadau felly yn eironi rwy’n llawn sylweddoli. I leddfu eich gofidiau, mae fy mhryderon i yn ymwneud ag effeithiau methiant systemig ar y rhai sy’n dibynnu ar y system yn hytrach nag o safbwynt llywodraeth sydd â’i bryd ar fanteisio ar bobl anabl er mwyn torri costau."
"Since 2008, successive governments have fettled away at the welfare system, subtly exploiting growing populism to create narratives which portray benefit claimants as scroungers stealing from the pockets of taxpayers. During this time they have allowed the system to corrode, crippling its ability to provide aid to those who need it."
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"Ers 2008, mae cyfres o lywodraethau wedi erydu’r system les, gan fanteisio’n gynnil ar dwf poblyddiaeth i greu naratifau sy’n honni bod y rhai sy’n hawlio budd-daliadau yn dwyn o bocedi trethdalwyr. Yn ystod y cyfnod hwn, maen nhw wedi gadael i’r system ddirywio, gan wanhau ei allu i ddarparu cymorth i’r rhai sydd ei angen. "
"Their insistence that the benefits system is a bloated expense is in reality an equivocation exposing their views on disability. Governments have been able to achieve sweeping sentiment changes by abstracting the welfare state. They’ve quantified the lived experience of those who deal with the systems inaccuracies. How do you visualise incorporeal structures?"
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"Mae eu honiad fod y system fudd-daliadau yn draul gormodol mewn gwirionedd yn anwiredd twyllodrus sy’n amlygu eu barn ar anabledd. Mae llywodraethau wedi llwyddo i newid teimladau pobl ar raddfa eang drwy dynnu’r wladwriaeth les o’n gafael. Maen nhw wedi mesur profiadau bywyd y bobl hynny sy’n delio â’r gwallau yn y system. Sut mae mynd ati i greu darlun o strwythurau anghorfforol?"
"My work is attempting to build an experiential image of the welfare system from the perspective of an individual who is unable to access it. I’m trying to construct a visual representation of this nonphysical entity in order to highlight the decrepit state years of malpractice has left it in."
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"Nod fy ngwaith yw ceisio creu darlun o’r system les drwy brofiadau go iawn ac o safbwynt unigolyn nad yw’n gallu cael mynediad ati. Rydw i eisiau creu cynrychioliad gweledol o’r endid haniaethol yma er mwyn amlygu ei gyflwr truenus ar ôl blynyddoedd o gamymarfer."
Ffion Denman is a photographer and artist originally from Cardiff and currently based in Sydney. Her developing practice explores the intersection of process, place, and participation, using alternative photographic techniques to engage with materials and environments. With a background in community-driven projects, Ffion’s work often considers the ongoing impacts of colonisation and the ways in which art can foster dialogue and connection.
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Artist a ffotograffydd o Gaerdydd yw Ffion Denman, wedi ei lleoli yn Sydney ar hyn o bryd. Mae ei gwaith yn archwilio’r croestoriad rhwng proses, lleoliad a chyfranogiad gan ddefnyddio technegau ffotograffig amgen er mwyn ymdrin â deunyddiau a gwahanol amgylcheddau. Mae wedi gweithio ar nifer o brosiectau dan arweiniad cymunedau ac mae ei gwaith yn aml yn ystyried effeithiau parhaus gwladychu a sut y gall gwaith celf feithrin deialog a chysylltiadau.
Ffion's recent work marks a shift from lens-based portraiture towards cameraless photography, natural dyeing, and printmaking. Through cyanotypes, rust printing, and eco-printing, she experiments with light, chemistry, and organic matter to create images that are as much about process as they are about outcome. This evolving practice reflects her journey of navigating new landscapes and exploring how materiality can serve as a tool for mapping and storytelling.
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Yn ei gwaith diweddar gwelwn naid o bortreadaeth sy’n seiliedig ar lens tuag at ffotograffiaeth ddi-gamera, defnyddio llifynnau naturiol a gwneud printiau. Drwy’r defnydd o dechnegau fel cyanotype, printio â rhwd ac eco-brintio, mae hi’n arbrofi gyda golau, adweithiau cemegol a deunydd organig i greu delweddau sy’n ymwneud lawn cymaint â’r broses ag y maen nhw’n ymwneud â’r canlyniad. Mae’r newid hwn yn ei dulliau creadigol yn adlewyrchu ei thaith drwy dirweddau newydd a’r broses o archwilio sut y gall materoliaeth fod yn offeryn defnyddiol i fapio ac adrodd straeon.
“As I move away from lens-based portraiture, I find myself drawn to processes that allow the environment to shape the image—where time, light, and chemistry imprint themselves onto materials, rather than me imposing a fixed narrative. My recent work embraces camera-less photography and natural printing as a means of understanding new places, using site-specific materials like foliage, rust, and minerals to create traces of my surroundings."
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“Wrth i mi ymbellhau o bortreadaeth sy’n seliedig ar lens, rydw i’n teimlo tynfa at brosesau sydd yn caniatau i’r amgylchedd siapio’r ddelwedd - lle mae amser, golau a chemeg mewn dawns â’r defnyddiau, yn lle fy mod i’n creu rhyw naratif benodol. Yn fy ngwaith diweddar, rydw i’n croesawu ffotograffiaeth ddi-gamera a dulliau naturiol o argraffu fel ffordd o ddeall llefydd newydd, gan ddefnyddio deunyddiau sy’n benodol i’r lleoliad fel dail, rhwd a mwynau i greu olion o’r hyn sydd o’m cwmpas."
"This shift stems from a growing discomfort with the authoritative nature of formal portrait photography—the inherent act of ‘taking’ an image. By working with dyes and photographic processes that rely on chance and interaction, my practice becomes more reciprocal, allowing accident and imperfection to hold meaning. Cyanotypes and eco-prints capture the residue of time and place, forming images that are less about representation and more about experience."
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"Fe ddeilliodd y newid yma o deimlo’n fwyfwy anghyfforddus gyda natur awdurdodol ffotograffiaeth bortreadol ffurfiol a’r weithred o ‘gymryd’ llun. Trwy weithio gyda llifynnau a phrosesau ffotograffig sydd yn dibynnu ar hap a damwain, mae fy null o weithio’n dod yn fwy rhyngweithiol, gan roi rhwydd hynt i ddamweiniau ac amherffeithrywdd fagu ystyr. Mae seianoteipiau ac eco-brintiau’n cofnodi olion amser a lle, gan ffurfio delweddau sy’n ymwneud yn fwy â phrofiad na chynrychiolaeth."
"While my practice is still evolving, this work-in-progress reflects my exploration of Sydney’s natural and urban landscapes through experimental making. Looking ahead, I aim to expand this approach into collaborative projects, sharing these processes with local communities as a way to foster creative exchange and deeper connections to place.”
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Er bod fy null o weithio’n dal i esblygu, mae’r gwaith hwn sydd ar y gweill gen i yn adlewyrchu fy nhaith i drwy dirweddau naturiol a dinesig Sydney drwy arbrofi. Yn y dyfodol, rwy’n bwriadu ehangu’r ymagwedd yma yn brosiectau cydweithredol, gan rannu’r prosesau hyn gyda chymunedau lleol fel ffordd o feithrin cyfnewid creadigol a chysylltiadau dyfnach â lle.”
Eco Printing
"I am new to eco printing, and I am still finding the rhythm—learning a whole new language, deciphering which botanicals whisper yes to the process and which turn away, which fabrics embrace the dye like an old friend and which resist, holding their own against the invitation to change. It’s an ongoing conversation—one of patient listening and humble experimentation.
These prints were born through the alchemy of time and touch, water and metal. The plants first took their rest in a bath of iron and water, while the natural fabrics—cotton, linen, and silk—bathed in alum mordant and water, steeping for 24 hours. Once softened and receptive, I laid the fabrics onto a flat surface, arranging the gathered botanicals with care, allowing their forms to dictate the composition."
Argraffu Eco
"Mae’r dechneg o argraffu eco yn un newydd imi, ac rydw i’n dal i ddod o hyd i’r rhythm - o ddysgu iaith hollol newydd, dysgu pa blanhigion sy’n canu mewn cytgord â’r broses a pha rai sydd yn fud, pa ddefnyddiau sydd yn cofleidio’r llifynnau fel hen gyfaill a pha rai sy’n eu gwrthsefyll, yn gyndyn o newid. Mae’r sgwrs yn un barhaus, o wrando’n amyneddgar ac arbrofi â meddwl agored.
Daeth y printiau yma i fodolaeth drwy ryngweithiad amser a chyffyrddiad, dŵr a metel. I gychwyn, rhoddais y planhigion i orffwys mewn baddon o ddŵr a haearn, tra aeth y ffabrigau naturiol - cotwm, lliain a sidan - i socian am 24 awr mewn cymysgedd o alwm brathliw a dŵr. Ar ôl i’r defnyddiau feddalu, fe osodais i nhw ar arwyneb gwastad, gan drefnu y planhigion yn ofalus a gadael iddynt symud i’w cyfansoddiad naturiol."
"With the patterns set, I tightly bound the fabrics around chosen cores—a wooden stick, a copper rod, and an iron pole—each material lending its own quiet influence to the transformation. The copper-bound fabrics were introduced to steam, coaxed into revealing their essence over three slow hours. The others, wrapped around wood and iron, were offered to the light and air, left to sit in the quiet rhythms of the natural world for a week.
The results are delicate, unfolding discoveries of pigment and form—imprints of both intention and surrender. Where steam invited some colour into the fibres, sunlight and stillness drew it out with a softer hand, leaving behind marks like fading echoes, stories impressed upon cloth."
"Ar ôl i’r patrymau ffurfio, clymais i’r ffabrigau’n dynn at brif ddeunydd - ffon bren, gwialen gopor neu bolyn haearn - pob un yn dylanwadu ar drawsffurfiad y darn terfynnol. Cafodd stêm ei ychwanegu at y ffabrigau a rwymwyd o amgylch copor, a daeth eu hanfod i’r amlwg dros dair awr araf. Rhoddwyd y lleill, a lapiwyd o amgylch pren a haearn, i’r golau a’r awyr, er mwyn eistedd yn rhythmau tawel y byd naturiol am wythnos.
Mae’r canlyniadau’n fregus: canfyddiadau newidiol sy’n deillio o bigment a ffurfiau - argraffiadau sy’n dynodi bwriad a pharodrwydd i ildio. Lle denwyd rhywfaint o liw i mewn i’r ffibrau gan stêm, cafodd ei dynnu i’r amlwg yn dyner gan olau’r haul a lonyddwch, gan adael marciau fel adleisiau tawel, neu straeon wedi’u gwasgu i’r lliain."
Tracy is an artist based in Cardiff. As a writer, her plays have been produced by Sherman Theatre, Script Cymru and Grand Ambition. Along with Chris Rushton her company Gritty ltd has produced a number of Documentaries for the BBC and World service. She is currently working on ‘Port Talbot gotta Banksy which is on at the Sherman in May 25.
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Artist sy’n gweithio yng Nghaerdydd yw Tracy. Yn ystod ei gyrfa fel ygrifennwr, mae ei dramâu wedi’u cynhyrchu gan Theatr Sherman, Script Cymru a Grand Ambition. Mae ei chwmni Gritty ltd, ar y cyd â Chris Rushton, wedi cynhyrchu nifer o raglenni dogfen ar gyfer y BBC a World Service. Ar hyn o bryd mae hi’n gweithio ar ‘Port Talbot Gotta Banksy’, sydd yn cychwyn yn y Sherman ar 25 Mai.
"Through this autobiographical series; I wanted to explore the journey of transformation, capturing the many versions of self that emerge through the continuous cycles of growth, loss, and rediscovery.
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Drwy’r gyfres fywgraffiadol hon, roeddwn i am archwilio’r daith o drawsffurfio, gan gyfleu’r sawl fersiwn o’r hunan sy’n deillio o gylchoedd parhaus twf, colled ac ailddarganfod."
"At the heart of this journey lies a deep reconnection with myself spiritually, as well as a profound reconnection with my son, whose additional needs and challenges have shaped our shared path. Motherhood has required me to evolve continuously, moving through different versions of myself. Each new phase brings its own challenges and joy, pushing me to explore the boundaries of patience, strength, love, and resilience."
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"Yn sail i’r daith hon mae ailgysylltiad grymus ac ysbrydol â’m hunan ynghyd ag ailgysylltiad â fy mab, y mae ei anghenion ychwanegol a’r heriau a ddaw yn sgil hynny wedi siapio ein llwybr. Mae dod yn fam wedi golygu bod yn rhaid i fi esblygu’n barhaus, gan symud drwy wahanol fersiynau o fy hunan. Mae pob cyfnod newydd yn dod â’i heriau a’i fwynhad ei hun, gan fy ngwthio i i archwilio’r ffiniau sy’n bodoli rhwng amynedd, cryfder, cariad a gwydnwch. "
Through reflecting on both my internal world and the exterior landscapes, I wanted to explore the reflection of the ever-evolving nature of our relationship with ourselves, our children, and with the world around us.
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"Drwy fyfyrio ar fy myd mewnol a thirweddau allanol, roeddwn i eisiau archwilio sut mae ein perthynas ni â’n hunain ein plant a’r byd o’n cwmpas yn newid o hyd."
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