19 November // Tachwedd – 28 December // Rhagfyr 2018
RemembranceDay for Lost Species, November 30th, is a chance each year to explore the stories of species, cultures and habitats driven extinct by unjust power structures and exploitation, past and ongoing.
It emphasises that this Sixth Mass Extinction is rooted in violent, racist and discriminatory economic and political practices. It provides an opportunity for people to renew commitments to all that remains, and supports the development of creative and practical tools of resistance.
2018 is the 250 year anniversary of the extinction of Steller’s sea cow.
Steller’s sea cow was first seen by Europeans in 1741 in the Bering Sea between Alaska and Russia. It was massive reaching lengths of up to 9m dwarfing its closest living relative – the dugong. It fed on kelp and communicated with sighs and snorts. Evidence suggests it was monogamous and sociable living in small family groups. Within 27 years of its discovery by Europeans, the slow-moving and easily caught mammal was hunted into extinction.
Emily Laurens, co-director of Feral Theatre and co-founder of Remembrance Day for Lost Species, is a multi-disciplinary artist based in West Wales.
8 October // Hydref – 16 November // Tachwedd 2018
Something Strange in The Neighbourhood
Absent But Not Forgotten is an ongoing, experimental art project formed in 2010 by west Wales artists, Kathryn Campbell Dodd and Jacob Whittaker.
“Our work explores and alludes to ideas of the paranormal, ghost hunting and the propensity to search for supernatural explanations to unexpected and unexplained phenomena. We are also interested in the associations, clichés and influences of TV and films on these issues.
As we head into the Halloween season, this new work for Oriel Blodau Bach proposes a series of seemingly simple questions to viewers to provoke thoughts about concepts of death, the afterlife and the nature of ghosts and our belief (or not) in them.
Through a series of posters the viewer is asked to consider the idea of ‘ghosts’, and how they exist in their personal belief systems.”
You are invited to tweet your responses and tag @ABNF13
Absent but not Forgotten
27 August // Awst – 5 October // Hydref 2018
Darkness // Y Tywyllwch
Artist, penny d, jones is based in Pembrokeshire and Cardiff she uses a variety of media and processes to make her work including painting, collage, video and conceptual practices.
“This piece came to me after what has been happening to me this year, making work for the blind – a textured black quilt and suffering a deep depression myself which has passed with a helping hand.”
“Daeth y gwaith ar ôl i fi weithio gyda deillion ac wedi bod fy hunan yn yr iselder ysbryd eleni. Gwnes i glytwaith mawr o wahanol wead ac yn ddu i ddeillion. Dwi’n teimlo yn iawn nawr ar ôl i fi wedi cael y llaw yn helpu fi.”
Penny’s exhibition Teimlo Llais (Feeeling Voice) can be seen at Oriel Mwldan in Cardigan from 8 September – 7 October 2018
Teimlo Llais is an interactive installation comprising a fabric quilt, a ceramic quilt and the voices of women speaking in Welsh. The exhibition is a culmination of the research and development project Llais Menywod in 2016 which highlighted the need for the women’s voice to be heard. The focus on touch and sound makes the exhibition suitable for blind and partially sighted people.
There will be a performance from a local Welsh women’s choir to launch the exhibition through a collaboration with penny d jones at the opening on 7 September at 6:20pm
penny d jones
16 July // Gorffennaf – 24 August // Awst 2018
Jonathan Powell is a Swansea based artist who works primarily in painting and drawing. He is also a director and curator of elysium gallery, Swansea that oversees local and international exhibitions which promote emerging and established artists. elysium gallery also provides studios for 100+ artists over three venues in Swansea City Centre. Jonathan is also the founder and continues to run the Beep Painting Prize Biennial.
“Building and destruction, both the subject matter and the painting process is a major part of my painting practice.
Imagined spaces and place; painted from a starting point of not knowing where the painting is heading. Forms and mythograms that float in my imagination and present the viewer with topography of mind. The character of this topography is pervaded by a sense of dereliction. In the paintings, bitumen is used to corrupt the oil paint; the eternal purity of colour encounters the corrosive chemistry of decay. While colour in its self does not die, it nonetheless vanishes and re-appears like a spirit.
Landing 2 & 3 are paint sketches towards an untitled science fiction film in painting. These are 2 of a large number of panels that depict the landing, the corruption and destruction of an alien landscape.“
4 June // Mehefin – 13 July // Gorffennaf 2018
Has anybody got a pen?
Jessica Dent graduated from Cardiff School of Art and Design in 2017and is currently based in Cardiff.
Experience; empiricism, cause behind memory, ignited and recalled through interaction with form and recognition. Objecthood, artefacts as portals to memory, connections to places and relations.
Selective, through choice of retaining so to recall such experiences, coming together, a new creation, a still life.
Creating an archaeology of identity, economically inexpensive now everlasting, in porcelain. Irony, always present, drawing attention to items in your surroundings.
The material is deliberately appropriated, an externalisation in 3D of values and familiarities, an extension of what you know.
We’re really pleased to be featured in issue #9 of Jwrnal, an online platform for makers and creatives in Wales.
20 May // Mai – 1 June // Mehefin 2018
After JF: Frippery for the Soul
This short exhibition introduces new work from the series After JF: Frippery for the Soul, an ongoing project of works on cardboard and fabrics which pay homage to the designer Josef Frank.
Josef Frank was born in Vienna in 1885 and emigrated to Sweden in 1933 to avoid Nazi persecution, later adopting Swedish citizenship. Originally trained and practicing as an architect in Vienna, Frank became the leading designer for the Stockholm design company Svenskt Tenn. He is probably best know for his bold, naturalistic and colourful textiles and furnishings.
Frank was deeply disquieted by the prevalent ideas of radical Modernism. He felt that the Modernist project had been hijacked by extremists who wanted to limit and define the movement by their own narrow terms of simplicity, purity and objectivity. In his essay Frippery for the Soul and Frippery as a Problem he argued that these utopian tenets of stern functionality simply did not respond to most people’s psychological needs.
He felt passionately that design should be driven by comfort, and that his designs might provide a sense of joyousness and exuberance against the stresses of everyday life. Although influenced by the designs of William Morris and the British Arts and Crafts movement, he also understood the inherent problems of that project as well as critiquing the homogenising tendencies of the machine-made, he said: “One can use everything that can be used” meaning that one should take from whatever is available both historically and technologically (a presciently Postmodern idea). Frank’s exuberant designs and ideas were later influential to Ingvar Kamprad who founded IKEA in 1965.
Kathryn Campbell Dodd