Kathryn Campbell Dodd

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

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dinahvagina

18 December // Rhagfyr 2017 – 26 January // Ionawr 2018

My Father’s Hankie (colour) 2017

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Artist dinahvagina lives and works in Carmarthenshire and graduated in 2015 from Carmarthen School of Art with a degree in Ceramics.

“One of the things I took when our father died was a stack of his hankies, he always had one in his pocket. All worn thin. I am slowly working through the pile, reflecting on him, his life, his part in the family. Here squares from his test sheets of water colours and inks are appliqued together with my own colours and some of the stranger brushes in his collection. It speaks of his love of colour, of testing things out and his eclectic collections born of a creative combination of frugality and curiosity.”

dinahvagina

Michelle Dawson

30 October // Hydref – 15 December // Rhagfyr 2017

Trondheim Oppslagstavle 2017 // Trondheim Noticeboard 2017

British artist Michelle Dawson is currently living in Trondheim, Norway. For her exhibition in the little gallery, Michelle has transported a noticeboard she has assembled in Trondheim to Oriel Blodau Bach, sending the contents of the exhibition by post to the UK.

“Before Oriel Blodau Bach was established, the space functioned as a notice board and after a time of disuse was repurposed into the gallery space. This work re-visits the original function of the space but connects to a different place. The posters and cards detail some of the cultural and social events taking place in Trondheim, a small city in Norway. The posters and cards are written in Bokmål, the common written form of norsk, interspersed with some english too.”

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Roger Lougher

Roger Lougher

16 September // Medi – 27 October // Hydref 2017

Roger Lougher has been collaborating with artist Anne-Mie Melis and is here looking back over a recent project at g39 gallery in Cardiff.

Both Melis and Lougher are curious about how we live within our environment and the possibility of this being done in a sustainable way. We are interested in the ecological impact of contemporary society on the natural environment and how that natural environment is framed philosophically and represented in art.

As part of our practice we frequently present workshops, across all ages. We see these workshops as opportunities to research our practice and to enter into dialogue with people who are not familiar with contemporary art. Recently we have been collaborating as Creative Practitioners, finding art based solutions to delivering the school curriculum.

We saw growing chicory in a gallery as an opportunity to explore our collaboration further. The gallery became a nursery in which to germinate the seeds of our joint imaginations, and a hothouse in which to force this organic growth through further interaction with other artists.

We made trials of growing plants inside the gallery, in the unnatural surroundings of the space. Our aim was to build a working prototype of an incubator and to grow edible plants. We wanted to research and share this process, make visible and encourage conversation about issues related to our contemporary nature, the food we eat, our changing climate and our responsibilities as citizens of our planet. In doing this we began to see the chicory as a third collaborator, a teacher and a fellow artist. In investigating this we were struck at references to non-human collaboration in anthropology.

The work you will see through Oriel Blodau Bach is a representation and analysis of this project and further musings on the project. It will be using Oriel Blodau Bach as one would use a blog on the internet. Please contact me if you wish to discuss anything posted at: Melin Glonc, Drefelin, Llandysul, SA44 5XB. Thank you.

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Mae Roger Lougher wedi bod yn cyd-weithio gyda artist Anne-Mie Melis ac yma mae’n bwrw golwg dros brosiect diweddar yn oriel g39 yng Nghaerdydd.

Rhanna Melis a Lougher ddiddordeb yn y modd yr ydym yn byw o fewn ein hamgylchedd a’r posibilrwydd o allu gwneud hyn mewn ffordd gynaliadwy. Mae ganddynt ddiddordeb yn yr effaith ecolegol sydd gan y gymdeithas gyfoes ar yr amgylchedd naturiol, a sut y mae’r amgylchedd hwnnw yn cael ei fframio’n athronyddol a’i gynrychioli mewn celf.

Fel rhan o’u hymarfer maent yn aml yn cyflwyno gweithdai i bobl o bob oedran. Gwelant y gweithdai hyn fel cyfle i ymchwilio eu hymarfer a chychwyn deialog gyda phobl nad ydynt yn gyfarwydd â chelf gyfoes. Yn ddiweddar buont yn cyd-weithio gydag Ymarferwyr Creadigol, i ddarganfod ffyrdd i gyflwyno cwricwlwm yr ysgol trwy weithgareddau celf.

Gwelwyd cyfle i ymchwilio eu partneriaeth ymhellach trwy dyfu sicori mewn oriel gelf. Yn y modd hwn daeth yr oriel yn feithrinfa lle y gellid egino hadau dychymyg y ddau ohonynt, ac yn dŷ gwydr lle y gellid ymwthio’r tyfiant organig trwy ymwneud gydag artistiaid eraill.

Arbrofwyd gyda thyfu planhigion tu fewn i’r oriel, yn  amgylchedd annaturiol y gofod. Y nod oedd adeiladu prototeip gweithredol o ddeorydd a thyfu planhigion bwytadwy. Roeddynt yn awyddus i ymchwilio a rhannu’r broses; amlygu ac annog trafodaeth am bwyntiau yn ymwneud a bywyd naturiol cyfoes, bwyd, newid hinsawdd a’n cyfrifoldeb fel dinasyddion i’r blaned. Trwy hyn, gwelwyd sicori fel y trydydd cydweithiwr, athro a chyd-artist. Yn yr ymchwiliad, daethant yn fwy ymwybodol o gyfeiriadau at gyd-weithredu annynol mewn anthropoleg.

Mae’r gwaith a welwch yn Oriel Blodau Bach yn gynrychiolaeth a dadansoddiad o’r prosiect ynghyd a sylwadau pellach am y prosiect. Bydd yn defnyddio Oriel Blodau Bach yn yr un modd a a blog ar y rhyngrwyd. Croeso ichi gysylltu â Roger Lougher os hoffech drafod unrhywbeth a osodir yma : Melin Glonc, Drefelin, Llandysul, SA44 5XB. Diolch.

Zara Kuchi

29 August // Awst – 13 September // Medi 2017

Starlings

Zara Kuchi was born in Cornwall and studied art at Carmarthenshire College of Arts and Technology going on to graduate from Falmouth College of Arts with First Class Honours in 2000. Kuchi is primarily an oil painter but also works in printmaking and watercolour.
Having travelled in South America and Europe and now raising two children in West Wales she draws together her experiences of life and visual culture in an on-going body of work. She is a long term member of the King Street Gallery artist’s co-operative in Carmarthen.

Starlings is part of a series of folk bird paintings originating in a homage to the ‘Love Birds’ of East European textiles and growing into a wider celebration of the symbolism of birds within art. Kuchi is currently working on a series of birds entitled ‘Peace in our Time’ echoing the use of the dove and the pigeon during the birth of the International Peace Conferences of post-War Europe.

Zara Kuchi

Jacob Whittaker

 

10 July // Gorffennaf – 25 August // Awst 2017

Bragu Blodeuwedd
A film about transformation

Gorse ~~ Meadowsweet ~~ Oak ~~ Broom

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This short experimental work uses the flowers from the story of Blodeuwedd and follows their transformations through fermentation processes, evoking the spirit of Blodeuwedd through chemistry, colour and sound.

The work looks at brewing as a creative act, the recipe and process become a ritual, a conjouring.

Gorse, Oak and Meadowsweet wines blended in equal parts, add 3 drops of Broom infused spirit and place in a jar with a barn owl pellet.

The final infusion continues to change as the wines oxidise and the pellet breaks down.

Perhaps she is alive.

Ac yna y kymeryssant wy blodeu y deri, a blodeu y banadyl, a blodeu yr erwein, ac o’r rei hynny, asswynaw yr un uorwyn deccaf a thelediwaf a welas dyn eiroet. Acybedydyaw o’r bedyd a wneynt yna, a dodi Blodeued arnei.

Williams, Ivor, ed., Pedeir Keinc y Mabinogi, (Cardiff, University of Wales, 1951)

Jacob Whittaker

Bragu Blodeuwedd : Cerddoriaeth//music:

The soundtrack in the Bragu Blodeuwedd video was composed and performed by Deuair (Elsa Davies and Ceri Owen-Jones):

Description of Blodeuwedd from Llyfr Gwyn Rhydderch (c.1350, Parcrhydderch, Llangeitho) was entwined with chosen contemporaneous melodies (c.1320-80, Tyddewi diocese) whose words venerate female love and show honour with flower symbolism.

These words and tunes were included in an antiphonal made during the same period as the compiling of Llyfr Gwyn Rhydderch, intended for specific use in the Welsh liturgical calendar.

An arrangement of choral voices was transferred to Crwth, Telyn Wrachod, and Telyn Efydd, traditional instruments of poetic art in Wales with pre-Christian lineage.

The score was composed from these influences by playing with the shifting rhythms and tones of Jacob’s sound recordings of the brewing process and to his film images.

‘[…] blodeu y deri, a blodeu y banadyl a blodeu yr erwein.’
Flowers of Broom and Gorse. Mae telyn efydd yn canu ‘Sicut Lilium Inter Spinas’.

‘[…] nit oed gyueir arnei hi ny bei yn llawn oe garyat ef.’
Meadowsweet. Mae crwth yn canu ‘O Certe Precipuus Marie Magdalene Amor’.

‘Keisswn nineu ui a thi oc an hut an lledrith hudaw gwreic idaw ynteu or blodeu.’
Oak, strength and fuel. Mae telyn wrachod yn canu ‘Kaniad Yr Efail’, alaw o’r crynhoad cerddoriaeth canoloesol Cymreig.

Forged with magic and illusion, ‘Blodeuwedd’ appears while crwth enchants ‘Felix Maria Familiam Custodi’, ‘[…] hitheu a gymerth diruawr lywenyd yndi.’

Elsa Davies and Ceri Owen-Jones

Bragu Blodeuwedd was originally commissioned for Aberystwyth Storytelling Festival 2017.