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sarah poland

'numinous light, dazzling night'

Oriel Fach 1: May 5 - June 16 2018/Mai 5 - 16 Mehefin 2018

This exhibition will open on Saturday May 5th 2018 at 2pm in Oriel Q, Narberth.

This exhibition is a series of painting, lithography, drawing and photography that Sarah made over seven years, three of which was when she was living off grid in an eighty acre Welsh oak woodland. Observations of her surroundings and interactions with nature informed her work which reflects the very essence of communicating with our surroundings. Sarah says;

 "I’m not sure whether the trees were dancing, making music or practising calligraphy but these observations help to inform my practice.
This selection of work is from an ongoing project started about seven years ago. It emerged after an experience of living off-grid for three years in an eighty-acre oak woodland in west Wales. During this time I made many drawings and paintings, I collected oak galls from the woodland floor, rust from the forge and water from the river to make oak-gall ink (nick-named Ink of Poets and Kings) - I wanted to make something truly of the woodland. I also took night walks with my camera on a long exposure and using the moon as a light source made ‘moon drawings’. The experience is truly Romantic, immersed as one is, beholden to and a part of nature.

In my work I want something of the immediacy of drawing: its explosiveness, brevity, rawness but also a type of mark-making that is not consciously directed which informs both the beginning and the final stages of making an image. Initially, I thought that the series would be about the woodland itself, but eventually, it evolved into being more about a process of transformation – of experience, self and material.  The work is as much about the materiality of paint and oak gall ink, the chemistry of making the ink and the act of painting and drawing - where the physical act of making work is, in part, an ontological process.

I am interested in differences of rhythm, tempo and repetition, and how they produce irregularity in marks, layers; also colours and their inherent instability. All these contradict the inherent flatness of paintings. Paintings can be weighty, at the same time possessed with a lightness of spirit – both of which are inescapably a part of nature. I believe that painting has the potential to be a transformative experience firmly grounded in the corporeal and that nature and landscape can be a metaphor for human experience, that this can help to create a depth of perception and that nature can give us moments of poetic experience. "

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jess woodrow

the sound of water

Oriel Fach 1: May 5 - June 16 2018/Mai 5 - 16 Mehefin 2018

This exhibition will open on Saturday May 5th 2018 at 2pm in Oriel Q, Narberth.

Jess' work represents a short period of time where she relocated from the city to a tiny ancient settlement in the Black Mountains. Jess became overwhelmed by stories about this place, set in a ripple on a mountainside; she came looking for the solidity of the mountains but what stuck her was the presence of water. Jess describes that the 'place felt liquid' with the sound of water everywhere. Jess describes;

"...And with the sound of water came stories of drownings, of springs springing where heads fell, of rivers being named after decapitated women who's loss of life had been placated by a sainthood. Here I found rivers of tears and pools of threat and mystery".

Bydd yr arddangosfa hon yn agor ddydd Sadwrn Mai 5ed 2018 am 2pm yn Oriel Q, Arberth.

Mae gwaith Jess yn cynrychioli cyfnod byr o amser lle symudodd o'r ddinas i anheddiad hynafol bach yn y Mynyddoedd Du. Daeth Jess yn syfrdanu gan storïau am y lle hwn, a osodwyd mewn afon ar ben mynydd; daeth hi'n chwilio am sicrwydd y mynyddoedd, ond yr hyn a oedd yn ei synnu oedd presenoldeb dŵr. Mae Jess yn disgrifio bod y 'lle yn teimlo'n hylif' gyda sain y dŵr ym mhob man. Disgrifia Jess;

"... A gyda sŵn y dwr daeth straeon am foddi, o ffynhonnau'n dod i ben lle'r oedd pennau'n syrthio, o afonydd yn cael eu henwi ar ôl merched wedi eu peintio a gollwyd eu bywydau wedi cael eu gosod gan sainthood. Yma fe ddarganfui afonydd o ddagrau a phyllau o fygythiad a dirgelwch ".


lee burton

milkwood spoons

Oriel Fach 2: May 5 - June 16 2018/Mai 5 - 16 Mehefin 2018

 Lee Burton, the founder of Narberth Whittling Association (NWA), will be exhibiting an array of Milkwood Spoons in Oriel Fach 2 which show off the wonderful grain and colour of different wood. A delightful exhibition that belies the simplicity of an everyday object; the skill of creating such sculptural and yet basic forms that Lee has crafted over the years. His show will be up from May 5th to June 16th 2018, Wednesday to Saturday each week from 10am.

 

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Bydd Lee Burton, o Gymdeithas Whittling Arberth (NWA), yn dangos amrywiaeth o Llwyau Milkwood yn Oriel Fach 2 a wnaeth yn ystod ei amser yn NWA. Bydd ei sioe ar agor rhwng Mai 5 a 16 Mehefin 2018, dydd Mercher i ddydd Sadwrn bob wythnos o 10am.


ryan marsh

social landscape

The Stairs: May 5 - June 16 2018/Mai 5 - 16 Mehefin 2018

Ryan Marsh is a photographer based in the Llansteffan area. His practice focuses on the human altered landscape. He started exploring this subject when studying BA (Hons) Photojournalism at the University of Wales Trinity Saint David from 2011-2014. In 2014, Ryan further developed his interest at UWTSD when studying MA Contemporary Dialogues- Photography from which he graduated in 2017.

The human altered landscape is a concept that can be categorised within the broader genre of social landscape photography which portrays how human beings interact with the land. Ryan’s practice works with this idea by depicting a truthful interpretation of the landscape compared to more stereotypical picturesque images. Subjects such as buildings, telegraph poles, car parks are intentionally left in and become the focus of Ryan’s pictures. These are usually presented as quite small within the frame for subtlety, to draw the viewer into the work and to show humanity’s place within the overall landscape.

Ryan uses a 1940’s large format camera to compose his images with consideration. By slowing down the photographic process, not only is he contemplating what to include in the picture, but also to bring a sense of human rationality to a potentially chaotic nature. This is supported by the use of framing devices such as the rule of thirds and leading lines.

Recently, Ryan has been working within the grid reference system of the Ordnance Survey map to further focus his practice. He makes one photograph per grid reference square of a chosen area to create a topographical survey. Specifically, this is also to comment upon the map as a means for people to rationalise, categorise and control the land.

Ryan is influenced by the New Topographics photographers and how their pictures depict human encroachment on the landscape while mapping non-places. From this group are the typologies of Bernd and Hilla Becher that have proven particularly influential with their classifications of industrial edifices. Andreas Gursky has also inspired Ryan with his photographs of humanity being dwarfed by landscapes. Another significant inspiration was from Mark Power’s 26 Different Endings project which made a photographic survey with a mapping system possible.

The work in this exhibition is focused in the Brecon Beacons and shows how Ryan’s practice has developed over time. He has progressed from simply recording human evidence within the landscape to creating subtle pictures with established rules and eventually taking inspiration from the OS map.

Ryan is currently continuing his practice in the Llansteffan area.

Mae Ryan Marsh yn ffotograffydd yn ardal Llansteffan. Mae ei ymarfer yn canolbwyntio ar y dirwedd ddiwygiedig ddynol. Dechreuodd ymchwilio i'r pwnc hwn wrth astudio BA (Anrh) Ffotograffoniaethyddiaeth ym Mhrifysgol Cymru Y Drindod Dewi Sant o 2011-2014. Yn 2014, datblygodd Ryan ei ddiddordeb ymhellach yn UWTSD wrth astudio Dialogau Cyfoes MA- Ffotograffiaeth lle graddiodd yn 2017.

 Mae'r tirlun newid dynol yn gysyniad y gellir ei gategoreiddio o fewn y genre ehangach o ffotograffiaeth tirlun cymdeithasol sy'n portreadu sut mae bodau dynol yn rhyngweithio â'r tir. Mae arfer Ryan yn gweithio gyda'r syniad hwn trwy ddangos dehongliad gwirioneddol o'r dirwedd o'i gymharu â delweddau mwy darluniadol ystrydebol.

Mae pynciau fel adeiladau, polion telegraff, meysydd parcio yn cael eu gadael yn fwriadol ac yn dod yn ffocws lluniau Ryan. Fe'u cyflwynir fel arfer yn eithaf bach o fewn y ffrâm ar gyfer cynnil, i dynnu'r gwyliwr i'r gwaith ac i ddangos lle dynoliaeth o fewn y dirwedd gyffredinol.  

Mae Ryan yn defnyddio camera fformat mawr 1940 i gyfansoddi ei ddelweddau gydag ystyriaeth. Drwy arafu'r broses ffotograffig, nid yn unig y mae'n ystyried beth i'w gynnwys yn y llun, ond hefyd i ddod â synnwyr o resymoldeb dynol i natur a allai fod yn anhrefnus. Cefnogir hyn gan ddefnyddio dyfeisiau fframio megis rheol y trydydd a llinellau blaenllaw.  

Yn ddiweddar, mae Ryan wedi bod yn gweithio o fewn system cyfeirnod grid y map Arolwg Ordnans i ganolbwyntio ymhellach ei ymarfer. Mae'n gwneud un llun fesul sgwâr cyfeirnod grid o ardal a ddewiswyd i greu arolwg topograffig. Yn benodol, mae hyn hefyd i roi sylwadau ar y map fel ffordd i bobl resymoli, categoreiddio a rheoli'r tir.  

Dylanwadir ar Ryan gan y ffotograffwyr Topograffeg Newydd a sut mae eu lluniau yn darlunio ymlediad dynol ar y dirwedd wrth fapio nad ydynt yn lleoedd. O'r grŵp hwn mae teipolegau Bernd a Hilla Becher sydd wedi profi'n arbennig o ddylanwadol gyda'u dosbarthiadau o adeiladau diwydiannol. Mae Andreas Gursky hefyd wedi ysbrydoli Ryan gyda'i ffotograffau o ddynoliaeth yn cael ei daflu gan dirweddau.

Ysbrydoliaeth arwyddocaol arall oedd gan Mark Power, sef 26 o Ddatblygiadau Diffiniol, a oedd yn gwneud arolwg ffotograffig gyda system fapio bosibl.  Mae'r gwaith yn yr arddangosfa hon yn canolbwyntio ym Mannau Brycheiniog ac mae'n dangos sut mae arfer Ryan wedi datblygu dros amser. Mae wedi symud ymlaen o gofnodi tystiolaeth ddynol yn y tirlun yn syml i greu lluniau cynnil gyda rheolau sefydledig ac yn y pen draw yn ysbrydoli map yr AO.  Ar hyn o bryd mae Ryan yn parhau


Malcom de chazal

a last fauve

Main Gallery: March 10 - April 21 2018/Mawrth 10 - Ebrill 21 2018

The exhibition opening at Oriel Q Gallery Narberth on March 9th is MALCOLM DE CHAZAL 1902-1981 - "A Lost Fauve"

A superb exhibition of the original gouache paintings from the Armstrong Collection of Malcolm De Chazal. He was born in Mauritius in 1902 and was mainly known as a writer and a poet ,his most notable books being Sens Plastique and Sens Magique. Jean Boninn has translated these and the quotes below are from him- "W.H.Auden said that he was "the most original and interesting French writer to emerge since the war". and Andre Breton hailed him as a surrealist. In 1950 Georges Braque encouraged him to paint  and he has been described as an abstract-surrealist expressionist but to my mind he could be defined as a post-Fauvist." In 1967 he exhibited in The Mercury Gallery ,Cork Street, organized by Jaduiga Rostowska,who said that he was a difficult and secretive character. One of the paintings exhibited there was "Bateaux a Voiles"  and 50 years on this will be on show at Oriel Q Gallery Narberth. Yvelaine Armstrong who has inherited this collection and holds the originals, (some of which are available to buy), is passionate about bringing this important artist to the attention of the public, and has also had limited editions of some of the work reproduced to an excellent standard which can be viewed and purchased  in Oriel Q Gallery Narberth.

You can learn more about this fascinating artist in a talk by John Welson on 5th April 7pm in the gallery.

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Yr arddangosfa sy'n agor yn Oriel Q Gallery Arberth ar 9 Mawrth yw MALCOLM DE CHAZAL 1902-1981 - "A Lost Fauve". Arddangosfa wych o'r darluniau gwreiddiol o gasgliad Armstrong o Malcolm De Chazal. Fe'i ganwyd ym Mauritius ym 1902 ac fe'i gelwir yn bennaf yn awdur a bardd, a'i lyfrau mwyaf nodedig oedd Sens Plastique a Sens Magique. Mae Jean Boninn wedi cyfieithu'r rhain ac mae'r dyfyniadau isod yn dod oddi wrtho- "Dywedodd WHAuden mai ef oedd" yr awdur Ffrangeg mwyaf gwreiddiol a diddorol i ddod i'r amlwg ers y rhyfel ". Ac fe wnaeth Andre Breton ei enwi fel syrrealwr. Yn 1950 fe'i anogodd Georges Braque i beintio ac fe'i disgrifiwyd fel mynegiantwr haniaethol-haniaethol, ond yn fy marn i, gellid ei ddiffinio fel Fauvist. " Ym 1967, fe'i arddangosodd yn The Mercury Gallery, Cork Street, a drefnwyd gan Jaduiga Rostowska, a ddywedodd ei fod yn gymeriad anodd a chyfrinachol. Un o'r paentiadau a arddangoswyd oedd "Bateaux a Voiles" a 50 mlynedd ar hyn yn cael ei arddangos yn Oriel Q Gallery Narberth. Mae Yvelaine Armstrong sydd wedi etifeddu'r casgliad hwn ac yn dal y rhai gwreiddiol, (y mae rhai ohonynt ar gael i'w prynu), yn frwdfrydig am ddod â'r artist pwysig hwn at sylw'r cyhoedd, ac mae hefyd wedi cael argraffiadau cyfyngedig o rai o'r gwaith a atgynhyrchwyd i safon ardderchog y gellir ei weld a'i brynu yn Oriel Q Gallery Narberth.

Gallwch ddysgu mwy am yr artist diddorol hwn mewn sgwrs gan John Welson ar 5 Ebrill 7pm yn yr oriel.

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polly dixon

Maidens, Myths and Martyrs: A History of Disbelief

Oriel Fach 1 & Oriel Fach 2: March 10 - April 21 2018/Mawrth 10 - Ebrill 21 2018

Polly Dixon bases her work on the appropriation and extraction of elements from Renaissance paintings to produce images which explore contemporary family relationships. She focuses on dysfunction, betrayal, deceit and disbelief using allegorical representation from an autobiographical perspective.  She is interested in the interplay between the whimsical and the serious, the imagined and reality, exposing false belief and confessing the truth.

Many of the historic works which inspire her narratives are from lesser known British artists alongside famous paintings by the likes of Da Vinci or Bronzino. She works through the medium of print, presenting overly large woodcuts alongside small, detailed intaglio prints. This is intended to suggest duality: large towering over the small, power and insignificance, right and wrong, shame and glory.

Polly shares a fascination with people’s histories and life experiences. She is interested in real life narratives, unbelievable truths and the misconceptions of memories, which we weave into our histories. Through printmaking she conveys hidden emotions, conflict and secrets which exist within the family, aspects which are kept from outsiders by decorating the truth to present an illusion. The use of historical appropriation illustrates that little has changed about human nature, and compositions result in an unexpected juxtaposition of motif and time line. Images are simultaneously familiar and peculiar, seductive and disturbing.

 

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Mae Polly Dixon yn canfod ei gwaith ar neilltuo ac echdynnu elfennau o baentiadau Dadeni i gynhyrchu delweddau sy'n archwilio perthnasau teuluol cyfoes. Mae hi'n canolbwyntio ar ddiffyg, bradychu, twyllo ac anghrediniaeth gan ddefnyddio cynrychiolaeth agoryddol o bersbectif hunangofiantol. Mae ganddi ddiddordeb yn y rhyngweithiad rhwng y chwilfrydig a'r difrifol, y ddychmygol a'r realiti, gan ddatgelu cred ffug a chyffesu'r gwir.

Mae llawer o'r gwaith hanesyddol sy'n ysbrydoli ei naratifau oddi wrth artistiaid Prydeinig llai adnabyddus ochr yn ochr â phaentiadau enwog gan rai fel Da Vinci neu Bronzino. Mae'n gweithio trwy gyfrwng print, gan gyflwyno llwybrau pren rhy fawr ochr yn ochr â phrintiau intaglio bach, manwl. Bwriad hyn yw awgrymu deueddrwydd: mawr yn tyfu dros y bychan, y pŵer a'r anhwylder, yn iawn ac yn anghywir, cywilydd a gogoniant.

Mae Polly yn rhannu diddorol â hanes a phrofiadau bywyd pobl. Mae ganddi ddiddordeb mewn naratifau bywyd go iawn, gwirioneddau anhygoel a chamdybiaethau o atgofion, yr ydym yn eu gwasgo i mewn i'n hanesion. Trwy wneud printiau mae'n cyfleu emosiynau cudd, gwrthdaro a chyfrinachau sy'n bodoli o fewn y teulu, agweddau sy'n cael eu cadw oddi wrth y tu allan trwy addurno'r gwir i gyflwyno rhith. Mae'r defnydd o gymhorthdal anesyddol yn dangos nad yw llawer wedi newid am natur ddynol, ac mae cyfansoddiadau yn arwain at gyfosodiad annisgwyl o linell motif ac amser. Mae'r delweddau ar yr un pryd yn gyfarwydd ac yn hynod, yn ddrwg ac yn aflonyddu.


mark haddon

CITHAERON

Main Gallery & Oriel Fach 1: January 20 - March 3/Ionawr 20 - Mawrth 3 2018

The work of Mark Haddon explores the potency of imagined spaces when relocated in the real world. Cithaeron, the imagined location which is the focus of this exhibition, is a representation of such a place being both an actual mountain and simultaneously the wooded mountain side on which many of the Theban myths are enacted. 

The process of making for Mark Haddon can also be seen as a journey. This durational process in fact forms the essential structural approach to the artwork. It is a means by which incidental elements can be brought into and inform the work as it evolves.

Mark Haddon is an artist and designer who lives and works in Edinburgh. His art practice has its roots in installation but it isn’t limited to any particular approach. At its most basic, making art is a mechanism by which he can rail against the mental and physical boundaries that seem increasingly to encroach. Research is an important aspect to his practice, but it runs in a parallel vein to artwork: it informs the practice but doesn’t inhibit what he makes. Rather there is an open-ended approach to both making and research: they connect and then go in separate directions and then connect again.

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Mae gwaith Mark Haddon yn archwilio potensial lleoedd wedi'u dychmygu wrth eu hadleoli yn y byd go iawn. Mae Cithaeron, y lleoliad dychmygol sy'n ffocws yr arddangosfa hon, yn gynrychiolaeth o le o'r fath yn fynydd gwirioneddol ac ar yr un pryd ochr y mynyddoedd coediog lle mae llawer o fywydau Theban yn cael eu deddfu.

Gellir gweld y broses o wneud Mark Haddon hefyd yn siwrnai. Mae'r broses derfynol hon mewn gwirionedd yn ffurfio'r ymagwedd strwythurol hanfodol i'r gwaith celf. Mae'n fodd y gall elfennau achlysurol gael eu dwyn i mewn ac i hysbysu'r gwaith wrth iddi ddatblygu.

Mae Mark Haddon yn artist a dylunydd sy'n byw ac yn gweithio yng Nghaeredin. Mae ei arfer celf wedi ei wreiddiau i'w gosod ond nid yw'n gyfyngedig i unrhyw ddull penodol. Yn ei sylfaenol, mae gwneud celf yn fecanwaith y gall ei rheilffyrdd yn erbyn y ffiniau meddyliol a chorfforol sy'n ymddangos yn gynyddol ymladd. Mae ymchwil yn agwedd bwysig i'w ymarfer, ond mae'n rhedeg mewn gwythiennau cyfochrog i waith celf: mae'n hysbysu'r arfer ond nid yw'n rhwystro'r hyn y mae'n ei wneud. Yn hytrach, mae dull penagored tuag at wneud ac ymchwil: maent yn cysylltu ac yna'n mynd i gyfeiriadau ar wahân ac yna'n cysylltu eto.

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polly verity

folded light

Oriel Fach 2: January 20 - March 3/Ionawr 20 - Mawrth 3 2018

The Paperfold Technique

Purely by folding, Polly creates three-dimensional geometric repeat patterns in paper. Light hits the surface of these low-relief white paper sculptures and strikingly throws up their form. Most of the designs are based on straight-line folds although many now incorporate or are completely made from folded curves and the outcomes are surprising. Each sculpture has a unique feel and the works vary, inspired by architectural form, op-art or nature.

During the design process, a simple paper fold structure is eased into shape by hand into a small piece of paper. This paper is opened out and the crease-lines carefully, mathematically transcribed into a computer line drawing. Once this drawing is refined and tested and with the repeat tessellation computed, the line data is sent to a cutting machine that very slightly grazes the paper along the lines in order to score it. The paper is then folded by hand along these scores. As in the ancient tradition of origami, the sculptures are each created by folding a single sheet of paper and there are no cuts.

Y Dechneg Papur

Yn union trwy blygu, mae Polly yn creu patrymau ailadroddus geometrig tri dimensiwn mewn papur. Mae golau yn cyrraedd wyneb y cerfluniau papur gwyn rhyddhad isel hyn ac yn taflu eu ffurf yn drawiadol. Mae'r rhan fwyaf o'r dyluniadau yn seiliedig ar blychau llinell syth er bod llawer bellach yn ymgorffori neu'n cael eu gwneud yn llwyr o gromlinau plygu ac mae'r canlyniadau'n syndod. Mae gan bob cerflun deimlad unigryw ac mae'r gwaith yn amrywio, wedi'i ysbrydoli gan ffurf pensaernïol, optegol neu natur.

Yn ystod y broses ddylunio, mae strwythur plygu papur syml yn cael ei ledaenu'n siâp â llaw mewn darn bach o bapur. Agorir y papur hwn a'r llinellau cywiro'n ofalus, wedi'u trawsgrifio'n fathemategol i lunio llinell gyfrifiadurol. Unwaith y caiff y darlun hwn ei fireinio a'i phrofi a chyda'r seseliad ailadroddus wedi'i gyfrifo, caiff y data llinell ei anfon at beiriant torri sy'n ychydig iawn yn pori'r papur ar hyd y llinellau er mwyn ei sgorio. Yna caiff y papur ei blygu â llaw ar hyd y sgorau hyn. Fel yn y traddodiad hynafol o origami, mae'r cerfluniau'n cael eu creu gan blygu dalen sengl o bapur ac nid oes toriadau

Mae Polly Dixon yn canfod ei gwaith ar neilltuo ac echdynnu elfennau o baentiadau Dadeni i gynhyrchu delweddau sy'n archwilio perthnasau teuluol cyfoes. Mae hi'n canolbwyntio ar ddiffyg, bradychu, twyllo ac anghrediniaeth gan ddefnyddio cynrychiolaeth agoryddol o bersbectif hunangofiantol. Mae ganddi ddiddordeb yn y rhyngweithiad rhwng y chwilfrydig a'r difrifol, y ddychmygol a'r realiti, gan ddatgelu cred ffug a chyffesu'r gwir.

Mae llawer o'r gwaith hanesyddol sy'n ysbrydoli ei naratifau oddi wrth artistiaid Prydeinig llai adnabyddus ochr yn ochr â phaentiadau enwog gan rai fel Da Vinci neu Bronzino. Mae'n gweithio trwy gyfrwng print, gan gyflwyno llwybrau pren rhy fawr ochr yn ochr â phrintiau intaglio bach, manwl. Bwriad hyn yw awgrymu deueddrwydd: mawr yn tyfu dros y bychan, y pŵer a'r anhwylder, yn iawn ac yn anghywir, cywilydd a gogoniant.

Mae Polly yn rhannu diddorol â hanes a phrofiadau bywyd pobl. Mae ganddi ddiddordeb mewn naratifau bywyd go iawn, gwirioneddau anhygoel a chamdybiaethau o atgofion, yr ydym yn eu gwasgo i mewn i'n hanesion. Trwy wneud printiau mae'n cyfleu emosiynau cudd, gwrthdaro a chyfrinachau sy'n bodoli o fewn y teulu, agweddau sy'n cael eu cadw oddi wrth y tu allan trwy addurno'r gwir i gyflwyno rhith. Mae'r defnydd o gymhorthdal anesyddol yn dangos nad yw llawer wedi newid am natur ddynol, ac mae cyfansoddiadau yn arwain at gyfosodiad annisgwyl o linell motif ac amser. Mae'r delweddau ar yr un pryd yn gyfarwydd ac yn hynod, yn ddrwg ac yn aflonyddu.


please see below for 2017 programme



ainsley hillard

'Textures in light'

Main Gallery: October 14 - November 18 2017/Hydref 14 - Tachwedd 18 2017

Exhibiting nationally and internationally Ainsley Hillard's research investigates the physical and metaphorical construction of cloth and its relation to body, memory and space. Exploring a range of media, Ainsley combines traditional weaving with audio-visual technologies, print and photography to create site-specific installations. This exhibition features a new body of Ainsley's work that includes a series of tapestries, jacquard weaves and hand embroidery.  

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Arddangos ymchwil Ainsley Hillard yn genedlaethol ac yn rhyngwladol, mae'n ymchwilio i waith adeiladu ffisegol a drosffig o frethyn a'i berthynas â chorff, cof a gofod.

Wrth archwilio ystod o gyfryngau, mae Ainsley yn cyfuno gwehyddu traddodiadol gyda thechnolegau clyweledol, argraffu a ffotograffiaeth i greu gosodiadau safle-benodol. Mae'r arddangosfa hon yn cynnwys corff newydd o waith Ainsley sy'n cynnwys cyfres o dapestri, gwau jacquard a brodwaith llaw.


SIÂN LEWIS

THRESHOLD

Oriel Fach: October 14 - November 18 2017/Hydref 14 - Tachwedd 18 2017

Siân’s work in Oriel Fach 1 shows a merging dialogue between life drawing, sculpture and video in a matrix of colour, layer and light

Mae gwaith Siân yn Oriel Fach1 yn dangos deialog uno rhwng darlunio bywyd, cerflunwaith a fideo mewn matrics o liw, haen a golau


ALASTAIR DUNCAN

PAST TENSE

Oriel Fach 2: October 14 - November 18 2017/Hydref 14 - Tachwedd 18 2017

Alastair Duncan’s work with tapestry weaving and barbed wire combine themes of conflict, identity and memory, which includes internal discord as well as external or political disagreement.

Mae gwaith Alastair Duncan gyda gwehyddu tapestri a gwifren fach yn cyfuno themâu gwrthdaro, hunaniaeth a chof, sy'n cynnwys anghydfod mewnol yn ogystal ag anghytundeb allanol neu wleidyddol.


JOHN SELWAY

'PETER PAN AND OTHER NARRATIVE WORKS'

Main Gallery: September 9 - October 7 2017/9 Medi - 7 Hydref 2017

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John Selway is one of Wales' most eminent contemporary artists who studied at the Royal College of Art from 1959 - 62 alongside David Hockney, Derek Boshier, Kitaj and Alan Jones. Born in Askem, Yorkshire in 1938 he has lived in Abertillery, Blaenau Gwent since 1941 He taught at Newport College of Art from 1964-91 and at Carmarthen for a number of years

Now in his 79th year He has produced a stunning collection of work entitled 'The Peter Pan Series' which consists of 9 large watercolours, 3 oil on canvas and11 images created on a Samsung tablet using the Auto Draw app. and printed on Hanna Muller archival digital paper.

There are also four pieces from ‘Another Kind of Eden’ based on Dylan Thomas’ poems which was a touring exhibition initiated by Oriel Q in 2003

‘This exhibition comprises work made over the last 10 years or so, contents of which are recent works inspired by J.M.Barrie’s book of Peter Pan and earlier work inspired by my own early childhood and the poems of Dylan Thomas’s own childhood such as Fern Hill. You may gather from this that the general emphasis of the exhibition is my use of the written narrative as a springboard for the visual image. I have written in the past of my concern for the written word and the way in which it continues to inform my work.’

 

 

Mae John Selway yn un o artistiaid cyfoes mwyaf blaenllaw Cymru a astudiodd yn y Coleg Celf Brenhinol o 1959 - 62 ochr yn ochr â David Hockney, Derek Boshier, Kita ac Alan Jones. Fe'i ganed yn Askem, Swydd Efrog ym 1938, ac mae wedi byw yn Abertyleri, Blaenau Gwent ers 1941. Bu'n dysgu yng Ngholeg Celf Casnewydd o 1964-91 ac yng Nghaerfyrddin am nifer o flynyddoedd

Nawr yn ei 79fed flwyddyn mae wedi cynhyrchu casgliad syfrdanol o waith o'r enw 'The Peter Pan Series', sy'n cynnwys 9 dyfrlliw fawr, 3 olew ar gynfas ac 11 llun wedi'i greu ar dabled Samsung gan ddefnyddio'r app Auto Draw. ac wedi'i argraffu ar bapur digidol archif Hanna Muller.

Mae pedair darnau hefyd o 'Kind Kind of Eden' yn seiliedig ar gerddi Dylan Thomas, a oedd yn arddangosfa deithiol a gychwynnwyd gan Oriel Q yn 2003

'Mae'r arddangosfa hon yn cynnwys gwaith a wnaed dros y 10 mlynedd diwethaf, ac mae cynnwys y rhain yn waith diweddar a ysbrydolwyd gan J.M.Barrie, llyfr Peter Pan a gwaith cynharach a ysbrydolwyd gan fy mhlentyndod cynnar fy hun a cherddi plentyndod Dylan Thomas, fel Fern Hill. Efallai y byddwch yn casglu o hyn mai pwyslais cyffredinol yr arddangosfa yw fy ngoleuni o'r naratif ysgrifenedig fel ffynhonnell ar gyfer y ddelwedd weledol. Rwyf wedi ysgrifennu fy mhryder yn y gorffennol am y gair ysgrifenedig a'r ffordd y mae'n parhau i roi gwybod i'm gwaith. '


 

DAVID STREET

Oriel Fach 2 & The Stairs: September 9 - October 7 2017/9 Medi - 7 Hydref 2017

David Street is a Pembrokeshire based photographer with a passion for outdoor and macro photography.

"I enjoy getting out and about with my camera and exploring the wonderful Pembrokeshire coast and local towns. I love creating images with creative and unusual compositions. I especially love photographing contre-jour, or in to the sun. This technique allows me to capture the often dramatic and beautiful Pembrokeshire skies. 

When not exploring the outdoors I like swapping my wide-angle lens for my macro lens. This lens allows me to take close up photographs of very small subjects.  I often use everyday objects in my macro photography. Its amazing how getting close to a subject can turn the ordinary in to something unusual and unique."