Katie Trick

3 Hydref // October – 28 Tachwedd // November 2020

Katie Trick is a painter currently based in South Wales she graduated in 2014 with a BA (hons) Fine Art Painting in Wimbledon college of art, University of the arts London.

“My paintings nod to home and the familiar, but also look at the strange familiarity of somewhere never visited. There’s always an impression of my immediate environment but rarely are they faithful depictions. These seem to be the themes that constantly sit alongside my work – although each painting is driven by the act of painting itself. Embracing what’s found, and lost – and what always seems to be left, in the end, is a view.”

Image: Window, acrylic and oil pastel on wooden board 2020

Katie Trick

Oriel Blodau Bach are delighted to be a venue for the extended 2020 BEEP Painting Biennial programme of exhibitions and events.

Peter Coviello

26 Mawrth // March – 1 Hydref // October 2020

Peter Coviello (1930 – 2006)

Peter began his artistic career at Guildford School of Art with a traditional art school training for the times, and his own work was in the same mould throughout his early career. In the 1950s, exposure to the American Abstract Expressionists via Mark Rothko changed his perspective on painting overnight and his work began to explore the themes and ideas he was being exposed to. He was recognised fairly quickly, and his work was bought for collections such as the Tate, The Arts Council Collection and the Peter Stuvesant Collection of Modern Art. In 1960, Peter was part of the ground breaking exhibition Situation, which took place at the RBA (Royal Society of British Artists) Galleries, London.

Mid-career, he spent some time working as a potter in Canada and, with his usual exemplary skill, he established himself to great accomplishment in that area for 10 years. When he came back to the UK, after a time in London, he came to live in west Wales having returned to painting as his main medium. The next couple of decades saw him moving between London and Wales before he came to Rhos in Ceredigion where he stayed until his death in 2006.

Peter Coviello, Untitled 2000

Ellie Young

Ellie Young

14 December // Rhagfyr 2019 – 1 March //  Mawrth 2020

Daphne Don’t Care 2019

Primarily a painter, Ellie captures fleeting expressions and changing emotions, particularly the movements of the face that communicate these feelings. Her influences come from films, internet image searches, and real-life encounters. She is interested in narrative and the interplay between the subject and the surface of a painting. Currently her work has a particular emphasis on moments of metamorphosis and animation.

The piece made especially for Oriel Blodau Bach, Daphne Don’t Care, is based on the myth of Daphne (who was changed into a laurel tree by her father to save her from Apollo’s advances) the transformation is depicted here as something ecstatic.

Ellie studied BA Fine Art at Cardiff School of Art and Design (2011). Solo exhibitions include Changing Faces, Oriel Mwldan, Cardigan (2018), Frontiers, Arcade Cardiff, Cardiff (2016) and One Hour Portrait Studio Residency at Degree Art Execution Room, London (2013). Group shows include Periclo @Spansih City, 2019, UNIT(e) g39 2018, Nightswimming, Mission Gallery 2018, Oriel Davies Open 2016.

 

Graham Jones

19 October // Hydref – 7 December // Rhagfyr

“IDENTIKIT” 2019

Cardiff based painter Graham Jones produces works that aspire to being objects in the real world rather than being a carrier of narratives outside of the process of painting. Using material from “high” and commercial art – oil paint on hand cut foamboard, the works shuttle between the bespoke and the ubiquitous, playing with the idea of being a thing, whilst implicitly celebrating its own contrivance and artificiality.

Recent work has focussed on how a particular aesthetic arises from a functional manufacturing process: abstract, often geometric patterns ostensibly contrived to serve a practical purpose, often overlooked on an aesthetic level, being so bound to their practical role – the tread on the sole of a shoe, holes in a ventilation grill, the rounded corners of a credit card, grouting between tiles, the rubber grip of a hammer…

The ubiquitous Welsh blanket design owes its appearance, in part, to its manufacturing process but has transcended its purely aesthetic design, whereby a collection of abstract geometric units no longer work just as a relational pattern but produce a narrative symbol that can be recognised and “read” in an instant,

Whilst still adhering to the conventions of nonrepresentational painting, “IDENTIKIT” re-presents the individual components of the Welsh blanket in the form of a DIY model kit, where, even though we are bound by pre-existing designs, we are imaginatively free to reappropriate and recompose.

Instagram @grahamp.jones

Jacob Whittaker

The Christmas Variations

24 August // Awst – 12 October // Hydref 2019

This new work for Oriel Blodau Bach is a collection of ‘Pregeth Christmas Evans’ vinyl record covers.  Born near Llandysul at Christmas in 1766, Christmas Evans grew up in Bwlchog, in the parish of Llanfihangel-ar-Arth and went on to become one of the most well known and influential preachers in Wales.

“Christmas Evans (1766-1838) was described by D. M. Lloyd-Jones as ‘the greatest preacher that the Baptists have ever had in Great Britain’. This remarkable one-eyed Welshman came from humble beginnings to exercise powerful preaching ministries throughout Wales..”(1)

The collection of sleeves with their different designs attest to his status and continued popularity as a preacher, receiving several re-issues on the Qualiton label.  The sermon itself was first delivered on July 1st 1835 in Bangor and the recording is of Rev. Jubilee Young some 118 years after Christmas Evans’ death.

As well as the covers in Oriel Blodau Bach there will be a short series of audio and video works published online during the exhibition period here

(1) ‘Christmas Evans – No Ordinary Preacher’ 

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The Christmas Variations

Mae’r gwaith newydd hwn i Oriel Blodau Bach yn cynnwys casgliad o gloriau record finyl ‘Pregeth Christmas Evans’. Ganed Christmas Evans ger Llandysul dros y Nadolig ym 1766, magwyd Christmas Evans yn Bwlchog, ym mhlwyf Llanfihangel-ar-Arth ac aeth ymlaen i fod yn un o’r pregethwyr mwyaf adnabyddus a dylanwadol yng Nghymru.

“Christmas Evans (1766-1838) was described by D. M. Lloyd-Jones as ‘the greatest preacher that the Baptists have ever had in Great Britain’. This remarkable one-eyed Welshman came from humble beginnings to exercise powerful preaching ministries throughout Wales..”(1)

Mae’r casgliad o gloriau gyda’u gwahanol ddyluniadau yn tystio i’w statws a’i boblogrwydd parhaus fel pregethwr, gan dderbyn sawl ailgyhoeddiad ar label Qualiton. Traddodwyd y bregeth ei hun gyntaf ar Orffennaf 1af 1835 ym Mangor. Yn y recordiad yma mae’r Parchedig Jubilee Young yn darllen y sermon rhyw 118 mlynedd ar ôl marwolaeth ‘Christmas Evans’.

Yn ogystal â’r cloriau yn Oriel Blodau Bach bydd cyfres fer o weithiau sain a fideo yn cael eu cyhoeddi ar-lein yn ystod y cyfnod arddangos yma

(1) ‘Christmas Evans – No Ordinary Preacher’ 

Kathryn Campbell Dodd

21 June // Mehefin – 17 August // Awst 2019

Midsummer Clootie (for Clare): Write me one beautiful sentence…

In Scots a ‘clootie’ is a strip of cloth or rag and a ‘clootie well’ is a holy well or spring, usually with a tree growing beside it, where strips of cloth, rag or pieces of clothing are tied in the branches of the tree in a votive gesture of healing.

“‘Midsummer Clootie (for Clare): Write me one beautiful sentence…’ was made in remembrance of my friend and sometime colleague, artist Clare Thornton, who died in April 2019.”

Kathryn Campbell Dodd

Jacqueline Jones

6 May // Mai – 14 June // Mehefin 2019

Jacqueline Jones is originally from Ceredigion and now based in the welsh valleys. Her work is figurative and concerned with deepening the mystery. She explores the concept of what was, and what is. How our interpratation of place and time becomes an abstract concept.  Places imagined to be there, that perhaps never where, or places that existed but only abstractions remain in memory. She is fascinated by how our perception of our environment is digested in the contemporaneous now.

Selected shows:

Tate Oil Tanks Tweet Me Up 2012  RCA By Invitation curated by Shani Rhys James 2015 Mostyn group show 2019  MOMA Welsh Group 2019  Bath Open Exhibition 2019.

We are showing two paintings from Jacqueline in an exhibition of two parts.

 

Laura Edmunds

I grow your bones

25 March // Mawrth – 3 May // Mai 2019

Laura Edmunds is an artist currently based at studio b in Cardiff, after having lived in England and Western Australia. Edmunds’ work focuses on the body in relation to death, loss, disappearance and things without edges. Opposing (and seemingly conflicting) points of concern are the conversations between material/immaterial and visible/invisible – manifesting itself as sound, print, drawing, painting and textiles.

Recent projects include Mouth at Oriel Mwldan (Cardigan), A Soft Introduction at Paper Mountain (Australia, 2018) and Ocean Studios (Plymouth, 2017), Lung Volumes at Cool Change Contemporary (Australia).

Materials: Earthenware, silk, canvas, oil paint, board, waxed teabag paper, air dry clay.

Laura Edmunds

Hannah M Morris

Wela’i di, Bis bald

11 February // Chwefror – 22 March // Mawrth 2019

Hannah M Morris is an artist from Cardiff who has recently relocated to Germany.

‘Wela’i di, Bis bald’ is a print of a found image, marking this significant change in her life.

She works with paper – print and collage – to express an anxious inner monologue. The images represent a personal vocabulary, a half-articulated communication.

Hannah participated in g39’s 2018 residency programme UNIT(e), producing film, collage and site-specific vinyls.

Other recent shows include Nightswimming at Mission Gallery and Cut & Stick with Anna Rogers at Ollie Quinn.

Hannah M Morris

 

Philippa Brown

31 December // Rhagfyr 2018 – 8 February // Chwefror 2019

Philippa Brown is an interdisciplinary artist based in Cardiff and is currently studying for an MFA at Cardiff School of Art and Design.

Her current work explores the use of symbolism and different methods of documenting behaviour and actions to explore how women are represented and in the sculptural possibilities and relationships between objects, body and space.

As Above, So Below. Photographic print and tape 88cm x 70cm, 2018

Philippa Brown