notes from wales

Issue 1 | Autumn 2014 Notes from Wales Highlighting and commenting on contemporary art across WalesThe low-down on the art scene from our correspondentsAlana Tyson - North WalesRebecca Spooner - Mid-WalesAlicia Miller - West WalesBob Gelsthorpe - South WalesPlus interviews withKaren MacKinnon Director, Artes MundiHelen Sear Representing Wales at Venice Biennale 2015and a focus on artistsSteffan Jones-HughesRuth JonesSarah Younan

Notes from Wales Philip Watkins, M4, 2012 Acrylic on canvasAutumn | 2014 Cover image:1 Welcome - Sheila McGregor, director, Axisweb Karen MacKinnon, director and curator, Artes Mundi2 Interview with Karen MacKinnon NOTES FROM WALES | AUTUMN 2014 1 The director and curator of Artes Mundi tells us what to expect from this year’s show From our correspondents in...3 North Wales - Alana Tyson Our north Wales correspondent on why she loves the region and its art scene4 Mid-Wales - Rebecca Spooner From established galleries to one-off projects, there’s plenty to see in mid-Wales5 West Wales - Alicia Miller Alicia Miller introduces the varied scene in west Wales6 South Wales - Bob Gelsthorpe Bob welcomes the artist-led activity that’s springing up in south Wales7 Interview with Helen Sear Find out about the artist representing Wales at next year’s Venice Biennale8 Steffan Jones-Hughes - Creative Vultures Artist Steffan Jones-Hughes rants about artists taking other people’s ideas9 In Focus - Sarah Younan Watch our film about ceramicist Sarah Younan and her pioneering work with the collection at the National Museum of Wales10 Ruth Jones profiled by Ciara Healy An introduction to the work of artist and curator Ruth Jones11 Notes from Wales - Alicia Miller Outlining the programmes supporting emerging artists in Wales12 Directory of Axisweb members in Wales

Welcome The thriving art scene in Wales Sheila McGregor Director, Axisweb About Axisweb > Join Axisweb >It’s a good moment Just as significant, however, are the We support contemporary art in the UK • Showcase and promote your workto launch a new digital myriad galleries, studios and project by giving artists and art professionals Easily create your own Axiswebpublication about spaces across Wales that nurture a platform to showcase their work, find profile to get your work seen by thecontemporary art in artists and makers all year round, giving work opportunities, stay informed and right people on our well establishedWales. them a vital opportunity to show new make useful connections. and highly respected platform work and widen their influence. Our directory of selected artists • Find great work opportunitiesCardiff Contemporary, In this publication we highlight these and art professionals is an essential Access our members-onlythe first ever citywide and many other developments, so as to research tool for anyone interested in noticeboard of over 200 regional,festival of contemporary give readers in the rest of the UK - keeping in touch with UK contemporary national and international workart, is already underway. and far beyond - special insight into a art. opportunities contemporary art scene that has neverAnd Artes Mundi, the UK’s felt more exciting and cohesive. Through our opportunities and enquiries • Make lasting and relevent connectionsbiggest art prize, opens service we help you find the right artist Connect with artists, artits doors to the public Our thanks go to Arts Council Wales for or art professional for your brief, professionals and collectorson 24 October. the project funding that has made this whether it’s a purchase, commission, directly through the site. We vet possible. Digital platforms transcend exhibition project, residency, any messages sent to you via your the usual limitations of time and place, consultancy opportunity or public profile, leaving you to deal with the connecting artists with audiences in programme. rest. And we don’t take commission ways we couldn’t have imagined even 15 on sales. years ago. It’s a continually fascinating Our programme in Wales supports artists place to be. and art professionals and promotes the All this for just £28.50 a year (£15 if country’s contemporary art scene in a you’re early career) wide variety of ways. Find out more and apply now > NOTES FROM WALES | AUTUMN 2014 2

Interview With Karen MacKinnon ProfiledWith Artes Mundi 6 opening on 24 October, Sheila McGregor talks to the director and curator I left school at 16 and didof the UK’s biggest art prize about what’s on her agenda and how she began her career loads of different jobs. I come from a very < Karen MacKinnon working-class background, so I understand why people Of course ‘socially engaged’ practice feel alienated from art. has become an increasingly dominant way of working. But for me the broader But when I was 22, idea of art and politics has always been I travelled in a van across important. My background is in art Europe and North Africa history and I’ve always been interested and it was life-changing: in the way that art is used by or can all I did was read and visit speak outside the institution. art galleries. How amazing that was!Sheila McGregor: First of all, why the Artists explore political ideas in such Carlos Bunga, Simultaneous, Fragmented,Latin name? different ways, whether it’s someone Discontinuous, 2010. Site specific installation I went on to do a degree like the Portugese artist Carlos at the exhibition “There is always a cup of sea in Art History with PhilosophyKaren MacKinnon: Our first Chair, William Bunga, whose installations are gallery- to sail in”, 29th São Paulo Biennale, 2010. and English Literature,Wilkins, wanted to signify that this was based and examine the cultural or Cardboard, packing tape, matt paint and glue. followed by an MA in Feminisman international, outward-looking prize political significance of the museum Photo: José Eduardo Giannini Ortega and the Visual Arts at Leedsthat would connect Wales with the as an institution; or else someone like University under Griseldawider world. And it was helpful that the Theaster Gates, who has created his If you can have the Booker Prize Pollock.name (meaning ‘arts of the world’) was own ecological system in Dorchester or awards for being a really greatneither English nor Welsh. Perhaps it also (Chicago) by making new work from citizen, why can’t we recognise When I was 30, I became theconveyed a certain gravitas. salvaged materials and using the money artists? visual arts programmer at he makes from selling this work to Chapter and then moved toSM: Artes Mundi has an explicit focus on renovate abandoned buildings. I’d be the first to say that prizes the Glyn Vivian Art Gallery insocial and political art. Tell us more. are not the be-all and end-all. But I Swansea, and in 2005 SM: Many people, including artists, have think it’s important that we reward I curated the Welsh show forKM: The focus on ‘the human condition’ mixed feelings about prizes. What would artists in the same way as people in the Venice Biennale.came from William Wilkins himself. What I you say to them? other art forms.really like about the theme is that it’s I took up the post ofsomething everyone can immediately KM: When I took up my job, we were director of Artes Mundiconnect with. They can go into an invited to a discussion at g39 about the in 2013 and here I am.exhibition by any of the artists in Artes role of prizes.Mundi with that in mind and relate what NOTES FROM WALES | AUTUMN 2014 3they see back to their own personal Most of the audience were young peopleexperience. and none of them had a problem with it.

NOTES FROM WALES | AUTUMN 2014 4 Theaster Gates, Dorchester Projects, Chicago, 2012 © Theaster Gates. Credit: Sara Pooley 2012. Courtesy White Cube

TRAW’ by Bedwyr Williams, co-commission SM: You’re the first Welsh director of The low-down between 14-18 NOW LIGHTS OUT and Artes Mundi, Artes Mundi. Does it make a difference at Pontio, Bangor. that you had already worked in Wales? ARTES MUNDI 6 KM: Well, yes, I pretty much know International art everyone and I’m well aware of all the exhibition and prize conversations and possible criticisms. But I try not to think about it much. 24 October 2014 - The main thing is that I have a passion 22 February 2015 for this particular place, at this National Museum of Wales, particular moment. Chapter and Ffotogallery, Cardiff SM: What are the exciting developments on the horizon in Wales? Admission freeSM: How is Artes Mundi evolving? SM: There’s a backlash from artists KM: Gosh, it’s difficult to single Shortlisted artists: in some places against the dominance out particular artists or galleries, - Carlos Bunga (Portugal)KM: There are more artists this year. of international artists in public without leaving people out. Of - Omer Fast (Israel)And we’re working again with Chapter exhibition programmes. Does that course Cardiff Contemporary is really - Theaster Gates (USA)and have a new partnership with apply in Cardiff too? exciting, because we’re all working - Sanja Iveković (Croatia)Ffotogallery. So you’ll see more of so well together. Places like Chapter, - Ragnar Kjartanssoneach artist’s work. KM: For me it’s about looking at Mostyn and g39 are always amazing. (Iceland) the whole landscape. And of course And the refurbished Glyn Vivian is - Sharon Lockhart (USA)We’ve also shifted the focus away that’s changing all the time. What something to watch out for next - Renata Lucas (Brazil)from the prize itself by working with we’d really like to do over the next year. In the meantime they have a - Renzo Martenspartner organisations to run projects two years is work with artists from great off-site programme. (Netherlands)in other parts of Wales. People often other countries on longer-term - Karen Mirza & Bradask me ‘What’s the model?’ and you projects which create relationships, I hope that this big shift, especially Butler (UK)could say we’re trying to grow our friendships, partnerships and in Cardiff, attracts the attentionown. opportunities here in Wales. of the UK press. David Anderson, This year’s shortlist was director of the National Museum, has selected from over 800For example, we co-commissioned with You could describe what we’re been leading the campaign to get nominations by Adam Budak,Mostyn the exhibition Divine Violence creating as a rhizome that’s beginning more media attention. Director of Collections andby Broomberg and Chanarin. And in to show in other ways across the Exhibitions at the NationalAugust we co-commisioned Bedwyr landscape. I would ask why we always And it seems to be working - we’ve Gallery of Art, Prague, andWilliams’s Traw with 14:18 NOW. This raise this question about the funding got exclusives in the Guardian, a Sabine Schaschl, director ofwas a video and sound installation at of international art? We’d never argue partnership with Art Review and Museum Haus Konstruktiv.the site of the North Wales Memorial that famous rock bands, orchestras Wales’s own CCQ magazine, along withArch in Bangor, which involved the and dance companies are detrimental local press featuring Artes Mundi 6, Prize Announcement:projection of images of the many to the local arts scene in our cities. it’s all really exciting! 22 January 2015thousands of north Welsh servicemenwho lost their lives in the First World Karen MacKinnon interviewed by artesmundi.org >War. Sheila McGregor, September 2014 NOTES FROM WALES | AUTUMN 2014 5

NOTES FROM WALES | AUTUMN 2014 6

From our correspondent in... ProfiledNorth Wales I moved to north Wales from Canada Alana Tyson, In Wrexham, PrawN, the Programme of Resources for over six years ago – not a place I ever our north Wales Artists in Wales (North), has declared itself ‘the little expected to live. But then, I suppose correspondent, gives shrimpy sibling of g39’s WARP’. It aims to work as ‘a that’s what happens when you marry a us the low-down on professional development tool for artists at all stages Welshman! the region of their career’. To be honest, I found the first coupleThe majority of people I meet in north Wales Oriel Wrexham is also set to move to larger premises of years difficult between the suddenare here by choice, because they love it; and and is holding discussions about the development of culture shock and not knowing anyone. Ithough it is spread over a large geographical a creative hub in the town. Existing institutions are didn’t really feel at home until I graduallyarea, the art community is quite intimate. expanding in the west with Pontio, Bangor University’s got more involved in the art communityWhen I sat down and wrote out the list of Arts and Innovation Centre, due to open this autumn here in north Wales. I started working atartists, events, organisations and venues I and Bangor Museum and Art Gallery moving to the city’s the newly renovated Mostyn in 2011 andwanted to mention, I was really pleased to Bishop’s Palace. I’m currently coordinating the Mostynrealise that I might easily exceed my word Ninjas art group for 11-14 year olds.count. The existing institutional hubs of Ruthin Craft Centre and Mostyn provide anchors in the community with I met many other artists through my workPlaces, spaces and organisations world-class exhibtions and events. I always appreciate at the gallery and also through the Helfa the fact that they bring exciting international art to Gelf/Art Trail. I am pretty introvertedA fairly pervasive north Wales complaint is that there North Wales in addition to showing Welsh artists. The and find meeting people for the firstis so much more going on in south Wales with its Cardiff new season at Mostyn will open on 14 November 2014 and time at a private view or similar largehub and (alleged) increased funding. I don’t feel this includes a show by Cardiff-based Laura Reeves. events can be difficult. The one-on-onegrievance holds much traction now. Artists in north interactions that Mostyn and Helfa GelfWales are organising themselves and studio groups I feel that artist-led centres are a really vital part provided allowed me to build meaningfulare a great example. In just the past few years, of the artistic community. Big institutions often relationships and become a part of aStiwdio Studio (Colwyn Bay), iard (Caernarfon), C.A.S.C programme years in advance, whereas smaller centres community.(Llandudno), Ladder Store Studios (Llandudno) and TOGYG are able to be so much more flexible and respond quickly(Bangor) have all formed, offering studio spaces and in to the needs of the community and local artists. I feel very positive about my artisticsome instances exhibition and project space as well. career and I can definitely put some of Bocs Celf is a fantastic multi-purpose, artist-led that down to where I live. North Wales centre in Caernarfon. Dimitri Rastoropov, the Arts is not only inexpensive but also home to Centre Coordinator, described it as ‘a cooperative, both world-class galleries and innovative contemporary and experimental art hub that promotes and interesting artists. Plus, it’s close and nurtures young and emerging artists’. Bocs has a to national hubs like Liverpool and regular exhibition schedule featuring both local and Manchester with easy access across the international artists and they really put a lot of effort border. into invigorating the community. Ruthin Craft Centre has invited me for a residency in winter 2015. I’ll be creating an immersive installation combining textiles with kinetic and sound elements. I am so lucky to have an organisation like Ruthin Craft Centre right on my doorstep, and the support of the Arts Council of Wales to make this opportunity possible. See Alana’s profile on Axisweb > alanatyson.com NOTES FROM WALES | AUTUMN 2014 7

What’s on this autumnSeptember is a big month in the northWales art calendarAs part of Helfa Gelf / Art Trail, 300 artistsopen up their studios every weekend duringthe month (similarly, there’s the Anglesey ArtsWeek, which takes place in April).I try to get to as many studios as possible in Alana Tyson, Shades by the Seaside, 2014 ©Alana TysonSeptember, to meet people and have a good Angela Davies, Zenobia, 2013, sculpture and film ©Angela Daviesnose around their spaces. Helfa Gelf alsoorganises exhibitions throughout the year ‘Haus of Helfa’ is also a part of the Llawn02 The public were then invited to place theirfor members such as the Caffi Celf shows at festival which took place in September in own messages in the bottles throughoutMostyn. This year will once again see an empty Llandudno. The free arts festival aims to the festival. The shelter was dismantled andbuilding in the centre of Llandudno (46 Augusta connect the history of the Victorian seaside transformed into a recycled raft, which wasStreet) turned over to Helfa Gelf artists for resort with contemporary art through the (symbolically) released out to sea with manya pop-up exhibition. Axisweb members Wendy theme ‘The Presence of Absence’. memories and messages contained within it.Leah Dawson and Angela Davies are both taking The festival does a great job of straddlingpart in the ‘Haus of Helfa’. the gap between appealing to the local There are also a couple of festivals taking community and presenting interesting and place in October: Bocs will be hosting aLike me, Angela Davies has experienced the challenging contemporary art. I took part festival called ‘Seven Traces’ which will involveisolation of working as an artist and found with ‘Shades by the Seaside’, an intervention installations and performances throughoutHelfa Gelf to be a gateway to connect with involving silhouette portraiture. Caernarfon and the blinc digital festival will beother artists in north Wales. In 2012 she held in Conwy at the end of the month.began occupying empty market spaces as North Wales environmental artist Tim Pughstudio space and organised ‘A Sense of Place’ worked with local schools for LLawn02 toexhibition in the People’s Market, Wrexham. clad one of the iconic Llandudno PromenadeHer goal was ‘to connect with artists to shelters with coloured bottles.forge a creative community’ and she feelsthat ‘Wrexham seems to be a more vibrantplace in terms of the arts these days.’ Angelais also currently artist in residence at St.Asaph Cathedral exploring the theme ofpilgrimage, which will inform the development ofa multi-media production in the Cathedral atthe end of the year. NOTES FROM WALES | AUTUMN 2014 8

NOTES FROM WALES | AUTUMN 2014 9 Tim Pugh, Bottle Harp, 2012. © Tim Pugh

North Wales - The place to be The low-down In the six years I have been in north Wales, Stiwdio Studio, Colwyn Bay > I have seen a lot of growth in the art ------------------ community. There are some great venues, iard, Caernarfon > with new organisations forming ------------------ and expanding rapidly. C.A.S.C., Llandudno > ------------------What I am most excited about, though, is that Ladder Store Studios, Llandudno >artists are starting to take control of the ------------------community themselves and self-initiating, forming TOGYG, Bangor >groups and starting projects. ------------------ PrawN, the Programme of Resources‘Power in the Land’ is one project that I’m involved for Artists in Wales (North) >in with Axisweb members Jessica Lloyd-Jones, ------------------Helen Grove-White, Tim Skinner, Robin Tarbet, Oriel Wrexham >Bridget Kennedy and four other artists. Through ------------------Pŵer yn y Tir, we will engage with the relationship Pontio, Bangor University’s Artsbetween nuclear energy and the land, and have and Innovation Centre >timed the project to come to fruition just as the ------------------last nuclear power station in Wales shuts down at Bangor Museum and Art Gallery >the end of 2015. ------------------ Ruthin Craft Centre >North Wales has become an environment that Jessica Lloyd-Jones, Capsule, 2009, Mirrored industrial glass tube, neon, ------------------nurtures such projects; there are challenges to electrics, chrome metal supports. ©Jessica Lloyd-Jones. Mostyn, Llandudno >the artistic community but the benefits of being ------------------here are continuing to multiply. Despite having to Axisweb members Bocs Celf >contend with long distances and potential isolation, ------------------artists in north Wales have a lot of advantages: Angela Davies > Tim Pugh > Helfa Gelf /Art Trail >beautiful and inspirational landscape; world-class Wendy Leah Dawson > Laura Reeves > ------------------venues; a supportive funding body in the Arts Helen Grove-White > Dimitri Rastoropov > Anglesey Arts Week >Council of Wales (seriously, they are really nice Bridget Kennedy > T im Skinner > ------------------people and always happy to chat about ideas and Jessica Lloyd-Jones > Robin Tarbet > Llawn02 festival >projects) and the relatively inexpensive cost of Alana Tyson > ------------------living. A couple of years ago some of my peers Seven Traces >expressed concern that my career would stagnate ------------------because of my decision to live in north Wales. blinc digital festival >I can pretty soundly quell any such doubts now and ------------------rather smugly say that some of my colleagues haveeven become envious! NOTES FROM WALES | AUTUMN 2014 10Alana Tyson, September 2014

From our correspondent in... ProfiledMid-Wales I’m an artist based in Crickhowell, South Rebecca Spooner, Tea and biscuits in Penny Hallas’s studio, Llangattock, Powys, working in film and photography our mid-Wales near Crickhowell. Credit: Rebecca Spooner installation. I’m originally from a village correspondent, tells in Monmouthshire but studied and worked us the treasures that in the arts in Cardiff for ten years, can be found as long relocating to Crickhowell in 2011 to take as you’re prepared to up the post of Arts Development Manager travel at Arts Alive Wales.Powys, which covers the majority of mid-Wales, Living rurally has fuelled the themes ofis the largest county in the country and makes my work. I love the sense of connectionup a quarter of the country’s landmass. North with the seasons, with the animals and theto south travel is difficult, as anyone who has social calendar of the countryside – I’mdriven back from a private view at Oriel Davies, often to be found at the county showsNewtown, on a wet winter’s eve will tell you. and point-to-point races.Given this environment, access to basic services(schools, healthcare, public transport) can be I was attracted to the area when Itricky, let alone access to contemporary culture. attended an excellent seminar, Reclaiming The Rural, in 2008. It was organised byDespite this, there is great potential for presenting more artists Morag Colquhoun and Tessa Waite,contemporary art in mid-Wales, which is home to based at the Penpont estate in Brecon,an impressive range of predominantly mid-career artists, which examined contemporary art practicesuch as Penny Hallas, Stefhan Caddick and Antonia Spowers in rural environments.in the south and Amy Sterly, Stephen West andShani Rhys James in the north. The incredible landscape of It feels like there’s room for everythingmid-Wales is partly managed by organisations like the here – that artists can move in whateverCanal & River Trust and the National Trust, who are direction they choose. I’ve experiencedswitched on to the idea that the arts can develop mind-altering sound installations innew visitors for their sites. Powys also attracts large mountain caves, as well as the Mondayaudiences for events including the Green Man Festival, morning life drawing class in Clyro VillageHay Festival and Machynlleth Comedy Festival. These Hall, where you’ll see some of the bestelements are beginning to shape opportunities to bring drawing anywhere from an amazing group ofartists, sites and audiences together. established artists. I’m currently working on PEAK, a project to develop more platforms for contemporary art in the Black Mountains, inspired by the artists living and working here and by a need to support the artistic diversity and ambition of the region. See Rebecca’s profile on Axisweb > NOTES FROM WALES | AUTUMN 2014 11

NOTES FROM WALES | AUTUMN 2014 12 Morag Colquhoun, Four Seminal Moments (Fela’s Wives), 2014, beeswax plant model and mixed media. Creadit: Bernard Matussiere

Mid-Wales - What’s on this autumnSupport for the arts appears buoyant Exterior of Oriel Davies Gallery, Newtown. Clare Woods, Fanny, 2014,in mid-Wales, even if regular arts Image courtesy of Oriel Davies Gallery oil on aluminium, 70 x 45cm.attenders are low in comparison with Image courtesy of Clare Woods The Rodd, Grain Barn : An installation of paintings byurban centres. Maggie Jones as part of Powys Arts Month, May 2014. NOTES FROM WALES | AUTUMN 2014 13 Credit: Rebecca SpoonerThe region is lacking in non-commercialgalleries, but benefits enormously fromvenues such as Oriel Davies Gallery. Theirautumn schedule includes a major solo showby Clare Woods, followed by an exhibitionof work by the American photographerFrancesca Woodman as part of Tate’s ArtistRooms. Winter offers a retrospective ofOriel Davies’s innovative education workand a summer exhibition, ‘Flora’, presentsinternational artists examining depictionsof the flower. The evolving Test Bedprogramme runs alongside the mainexhibitions, showcasing new and experimentalwork from Wales and the Borders.The Sidney Nolan Trust was founded atThe Rodd on the Welsh Marches, nearPresteigne, in 1985 as a unique setting forNolan’s artistic legacy and to provide acentre for creative work, exploration andlearning across the arts. The Rodd, whichincludes a working farm, has an ongoingprogramme of exhibitions, music recitals,performances, residencies, courses andworkshops. Over the past two years theirmain project, ‘Crossings’, has focused onthree core themes: sculpture, the materialsof the natural world, and the land andits natural and human history. ‘Crossings’concludes in October 2014 with a week-longfestival celebrating the programme witha symposium, exhibition, talks and walks. Afollow-up project is in development for 2015.

Further ahead The low-downA view of fields at the base of The Sugar Oriel Davies, Newtown > Loaf mountain, Abergavenny. ------------------ Credit: Rebecca Spooner Canal & River Trust > Emma Balch, PEAK Project Assistant, at ------------------ The Begwyns, near Hay-on-Wye. The National Trust > Credit: Rebecca Spooner ------------------ Green Man Festival >Brecknock Museum and Art Gallery is PEAK is exploring the potential to develop rural ------------------currently closed to the public until the networks, artistic exchange (regional and Hay Festival >end of 2016 while it undergoes a £2.5 international), temporary studio and gallery ------------------million development, which will create a spaces, artist-led projects and festivals. Machynlleth Comedy Festival >new cultural centre in Brecon. ------------------ PEAK is also working on a pilot project, in The Sidney Nolan Trust >If the refurbished temporary exhibition partnership with The Landmark Trust, to develop ------------------gallery is programmed with ambition and an artist residency for spring 2015, in response Brecknock Museum and Art Gallery >confidence it will be a real boost to the to the renovation of Llwyn Celyn, a medieval ------------------contemporary arts in the south of the county. house and farm in the Llanthony Valley. This will PEAK > give artists the opportunity to research an ------------------Over the past year I’ve been working on PEAK, historically important Grade I listed site and Arts Alive Wales >a project for Arts Alive Wales, which seeks sensitively explore complex issues surrounding ------------------to develop platforms for the creation and renovation, examining the physical and social The Landmark Trust >presentation of contemporary art in the Black ecology that is lost as well as gained. ------------------Mountains (a group of hills spread across partsof South Powys and Monmouthshire, roughly This autumn selected curators and writers Axisweb memberscontained within the towns of Abergavenny, have been invited to a studio visit in theHay-on-Wye and Brecon). Black Mountains, to meet artists including Susan Adams > Morag Colquhoun, Susan Adams, Philip WatkinsThe project was initiated in response to and Pip Woolf, amongst others, with the aim Stefhan Caddick >Arts Alive Wales’s strategic aims to generate of raising the profile of the area, its artistsprofessional opportunities for artists in and exploring potential for new projects and Morag Colquhoun >the region and to provide greater access to collaborations. Documentation of the visit willcontemporary art within our rural environment. be shared on the Arts Alive Wales website in Penny Hallas > October. Shani Rhys James > Rebecca Spooner, September 2014 Rebecca Spooner > Antonia Spowers > Amy Sterly > Stephen West > Philip Watkins > Pip Woolf > NOTES FROM WALES | AUTUMN 2014 14

From our correspondent in... ProfiledWest Wales I’ve lived on the coast of west Wales Alicia Miller, One of the Pecha Kucha sessions at ‘Let your Hair Down!’ for six years now, and for almost four our west Wales artist networking event at Narberth Museum, June 2014 of those years have had the pleasure of correspondent, working for Axisweb as their Associate. introduces the It’s been an immensely enjoyable people and places experience that has introduced me to you can find way a lively and generous group of artists out west and arts organisations around the country that makes Wales a great placeWest Wales, like so much of Wales, is largely to live and work for those engaged withrural. You spend a lot of time driving contemporary art.between places and put much effort intobuilding a network of connections with I’ve worked in the visual arts forother artists and art professionals. more than 15 years in a wide range of capacities. I started out as aThe world definitely doesn’t turn up on your doorstep Artists enjoying ‘Let your Hair Down!’ networking event photography curator and have an MA in– you have be active and out there, as a willing at Narberth Museum, June 2014 the history of photography. It remains myparticipant making things happen. But the fact that first love. I’m excited to sit on the boardmany people are busy doing just this makes west Wales It was a congenial and friendly occasion with an array of Ffotogallery here in Wales and to bea great place to be and make work. of work presented by accomplished artists a part of such an ambitious organisation and makers. Events like these are critical in helping with a rich history. Over the years,Turning up at Narberth Museum on a Friday night artists to find and get to know their ‘local’ art I’ve also worked as a gallery educator,in June (a two hour round-trip for me that seemed an community, especially when its spread covers art reviewer, public events organiser,entirely reasonable distance) for ‘Let Your Hair Down!’, a 60-mile stretch and three counties. strategist and many other things. Inan artist networking event organised by Linda Norris, my work with Axisweb, I conceptualisedI was surprised by a strong turnout of 30 or more and ran a range of artist professionalartists who had come for the ‘pecha-kucha’ session development programmes from symposiums– an opportunity to show work and see the work of like this year’s Behind the Scenes of theother artists in the region. Museum at the National Museum of Wales (with over 200 people in attendance) to artist commissions such as Real Institute’s Analogue Web Portal (2012) and Axisweb’s mentoring programme for recent graduates, Out and Beyond (2013). Throughout my career I have written regularly on the contemporary visual arts, it is an active and important part of my practice and keeps me engaged with current issues and dialogues in the contemporary visual arts. In addition to my Axisweb blog, this year I’ve written essays on Bella Kerr’s Keeper exhibition at Mission Gallery and Rhôd’s 2014 exhibition Deall y Lle:y filltir sgwâr. See Alicia’s Axisweb profile > NOTES FROM WALES | AUTUMN 2014 15

NOTES FROM WALES | AUTUMN 2014 16 Richard Higlett, Elephant Enclosure, 2014. Power poles and sheep marker. Credit: Paul Emmanuel

West Wales - making placeThe beauty of the countryside and coasthas been a source of inspiration to themany artists who live way out west. < Farm Shop exhibition, Oriel Myrddin. Credit: Paul Emmanuel David Fitzjohn, Fimbulwinter at Oriel Myrrdin. Credit: David Fitzjohn >André Stitt’s beautiful series of paintings of The region is supported by an excellent network The Aberystwyth Art Centre is the largestwest Wales, shown at Oriel Myrddin in 2013, of galleries with an ample geographic spread institutional presence in the region, withwere a stunning example of this, generated by between them and much support for local and a varied and engaging range of exhibitionshis connection to a family farm near Aberporth regional artists. Oriel Myrddin in Carmarthen, programmed by curator Eve Ropek – this autumnand walks from Aberystwyth to Cardigan. There which shows the work of both artists and sees the launch of ‘Images’, an exhibition ofis a continuity of ‘community, culture and the makers, manages an elegant balance of local illustration which illuminates its impact on ourland’ in west Wales, as Stitt has commented, in and regional work from Welsh artists, as well as visual culture. Alongside this, an exhibition ofwhat is still largely an agricultural area. artists with a national and international profile. work by sculptor Tim Shaw, which Aberystwyth Art Centre co-curated with mac in Birmingham,Oriel Myrddin’s recent show ‘Farm Shop’ Place seems to be a clear focus in the will also be on show.exemplifies this – with work by Richard Higlett, programme – their winter show ‘Thin Place’,Paul Emmanuel and others, it creates a place curated by Ciara Healy, showcases five artists Since working closely with Oriel Davies, Oriel‘where ideas about the cultured activity living on the west coasts of Wales and Ireland Mwldan in Cardigan is showing much more workof ‘art’ and the rural activities of farming and reflects an intimate engagement with place by contemporary artists. David Fitzjohn,and rural productivity come together’. that encompasses the intangible and uncanny a Cardiff-based painter, is showing Fimbulwinter, ties we have with particular locations. an installation that explores our changing climate and its impact on the landscape. NOTES FROM WALES | AUTUMN 2014 17

Finding your place The low-downThere is a tremendous amount of Rhôd is a strong regional hub - started in Narberth Museum >artist-led activity across Wales, 2009, it is an artist-run project in Drefelin, ------------------and west Wales has its fair share. Carmarthenshire, which seeks to activate an Let your hair down artists networking event > ‘urban-rural dialogue’ from a most stunning rural ------------------ Installation views of the Colony 14 exhibition, location - an old mill down a long rambling lane. Oriel Myrddin Gallery > Cardigan, August 2014 ------------------ Artists with studios on the site are part of the Aberystwyth Arts Centre > wider Rhôd Artist Group, which includes artists ------------------ invited to make work and exhibit on the site. Oriel Mwldan > The project sets out to make the case that ------------------ work produced outside the city is as distinct Rhôd > and significant as that which comes from within ------------------ it. There is only a dichotomy of mind between Colony Projects > the two. Outside and inside are inversions of ------------------ one another. Elysium Gallery > ------------------ Colony 14, in collaboration with Elysium Gallery in Swansea, took place again in Cardigan this Axisweb members past August, occupying two beautiful disused warehouse spaces. With over 50 artists David Fitzjohn > participating, it was an ambitious endeavour for Richard Higlett > the quiet market town and included a diverse Linda Norris > and interesting range of work, from established Tim Shaw > artists like Iwan Bala to emerging talents like Anthony Rhys. Rhys’s strange paintings are the out-takes of old daguerreotypes - the Victorian subjects have been caught laughing or yelling or deeply angry or sad, perhaps hysterical. The images, which could never have been captured by the slow daguerreotype process, are imagined by Rhys’s tiny paintbrushes. These pictures subvert the language of portraiture and reveal instead what we might never see. Alicia Miller, September 2014 NOTES FROM WALES | AUTUMN 2014 18

From our correspondent in... ProfiledSouth Wales Viva La Valleys I usually describe myself as an artist, but I find the term creativeBob Gelsthorpe, First stop is in Abertillery, Blaenau Gwent, practitioner encompasses a lot moreour south Wales where Zosia Krasnowolska and Dafydd Williams have of what I do.correspondent, been running The Kickplate Gallery in a formerintroduces the hairdressers since 2013. A kickplate is the sheet I was born in Blackpool, but now live inwealth of artist-led of metal installed at the bottom of a wall where Cardiff. My work is about generosityactivity in the region a hairdressing chair would sit, to prevent bored and reciprocation, but that breaks customers damaging the walls. The name also down into three main strands of suggests that the project is ‘kicking back’ practice-based research: artist-led against small-town boredom and the lack of galleries activity and its insurgence; studio in the area. practice and its role as a ‘catalytic chamber’; and the legacy of bothArtist-led activity has always been in the Since its inception the gallery has exhibited work and what that legacy means in social,vanguard of promoting new developments by no fewer than 44 artists from over 20 countries emotional, visual and political terms.in artists’ practice and never more so than and 3 continents and, in a short space of time, What that means to me is an emphasisin south Wales, where initiatives like g39 and has developed a great reputation for the quality on discovery and empathy.tactileBOSCH have served as trailblazers. of its shows. This ambitious programme continuesNow a new wave of artist-led projects is with the recent exhibition ‘dall’Esterno’ (8 August I’m currently working on ‘A Giant,entering the field. – 6 September 2014), a show of seven artists Whose Shoulders I Stand On’, a from what, in western Europe, is perceived to be curatorial project with Cardiff ‘eastern Europe’. Contemporary that will be the second in a trilogy of exhibitions based The Kickplate Gallery. Credit: Zosia Krasnowolska on ideas of generosity and faith, as a reciprocation through artists invested in (but not limited to) South Wales. I graduated from Cardiff School of Art and Design in 2012 and currently enjoy working at Bit Studios, an artist-led studio complex in east Cardiff. See Bob’s profile on Axisweb > NOTES FROM WALES | AUTUMN 2014 19

Curator Zosia Krasnowolska points out that people The second BEEP exhibition will be held in two locations, BEEP 2012, Volcano Theatre. Credit information goes herein Poland generally consider themselves to be central at Elysium Gallery itself and in a former Iceland Credit: Elysium GalleryEuropeans, while Lithuanians see themselves as being retail unit, and will include critiques and discussionsfrom the Baltic states. She is interested in how these that create vital dialogue for the future. The title, NOTES FROM WALES | AUTUMN 2014 20perceptions of identity are formed and distorted. The “the portrait of the artist as…”, ties in with the NOTES FROM WALES | AUTUMN 2014 2exhibition title is a play on words, meaning literally ‘from Dylan Thomas 100 celebrations and gives the prize athe outside’ - yet Est also translates to ‘east’ particular focus on the idea of portraiture.in Italian and the exhibition originated in Naples in Italy. Jonathan argues that artist-initiated projects areAlthough the future of The Kickplate Gallery is currently the only way forward for a sustainable visual artsuncertain, it is a beacon for contemporary art in the practice in south Wales. He strongly believes in thevalleys of south Wales and enjoys strong backing from need to break away from institutional dependence andrenowned Welsh artist John Selway, as well as vocal put power back into the hands of artists.support from residents and local councils.The gallery offers genuine opportunities to viewinternational work in a friendly, welcoming context.In one guise or another it must surely continue.Internationalism, sustainability, SwanseaSwansea-based painter Jonathan Powelltook the reins as director of Elysium Gallery,originally a community-led space, in 2007.Following the gallery’s recent collaboration with Colony14 in Cardigan, Jonathan and his troops are currentlyorganising the BEEP international prize for contemporarypainting in Wales (biennial exhibition of painting).BEEP first took place in 2012 at Swansea’s VolcanoTheatre, a venue well outside the traditional whitecube, with a studio-oriented aesthetic and the backsof paintings in full view. The prize provokes new dialogueabout the nature of contemporary painting in Walesand contrasts with the prevalence of the Pembrokelandscape tradition.

Great image from South BEEP 2012, Volcano Theatre. Credit: Elysium GalleryWales correspondent (fullpage) NOTES FROM WALES | AUTUMN 2014 21

South Wales The low-downNew contemporaries in the capital g39 > ------------------Championing artist-led practice back in The Abacus. Credit: The Modern Alchemists The Kickplate Gallery > Credit information goes herethe capital city is a new initiative from ------------------The Modern Alchemists, a nomadic group As a celebration of generosity and kindness Jonathan Powell >of recent graduates from Cardiff School and a platform for experimentation, it is also a ------------------of Art & Design. fitting tribute to artist and curator Kim Fielding, Elysium Gallery > co-founder of tactileBOSCH, who died in February ------------------They have opened a new venture called The Abacus, this year. The Kim Fielding Award will be launched on BEEP >just opposite Central Station, which hosts a the opening evening, providing a legacy for ------------------sporadic programme of events and short-term the experimental work he championed throughout The Modern Alchemists >exhibitions and operates as a grassroots platform his life and embodying the faith he placed in the ------------------for artist activity, whatever its format. many people who knew and worked with him. The Abacus > ------------------The Modern Alchemists have gone from strength Bob Gelsthorpe, September 2014 Empty Walls Festival >to strength, beginning as a showcase in the ------------------Capitol Shopping Centre and then moving to a Cardiff Contemporary >large, more expansive space on Wood Street. ------------------They have fine-tuned their talents for what is tactileBOSCH >set to become the fantastic new art space that ------------------Cardiff has been crying out for. The Kim Fielding Award > ------------------The Modern Alchemists also run the Empty Wallsfestival that Cardiff residents and visitors may NOTESNOFTREOSMFWRAOLMESWA|LESAU|TAUUMTNUM2N01240124 22be familiar with. Running from 21 September to25 October, it involves commissions for largepainted murals all over Roath from nationally andinternationally acclaimed artists. Empty Walls willbe even bigger and bolder this year, with a firmemphasis on direct audience engagement: it’sdefinitely an event to keep your eyes peeled for.From 3 October to 9 November, the capital citywill welcome Cardiff Contemporary festival 2014on the theme of ‘Reveal/Conceal’. One of manyexciting projects is tactileBOSCH’s multi-platformexhibition ‘Paradise Lost’ in a formerly concealedImmigration & Customs building down in Cardiff Bay.

Interview with Helen Sear ProfiledHelen Sear on her work, photography and what it means to represent Helen Sear’sWales at next year’s Venice Biennale photographic work has developed fromHelen Sear at Plas Glyn Y Weddw and the convergence of image and HS: The camera prioritises sight over a background of surface, perhaps a result of years the other senses and I like to bring the performance, film and working in front of a computer screen. whole body into the act of viewing. To installation made do this it is necessary to activate the in the 1980s. Her RW: Tell us about your recent work viewer in some way. That might involve work is in a number ‘Chameleon’, what led to this piece? not allowing them to see something in of collections the picture, or deliberately covering including the HS: The work is partly inspired by something up. There may be different British Council, Man Ray’s photograph ‘Cette Espèce viewing positions, such as in ‘Gone To the Arts Council of D’hélianthe’ and Paul Nash’s sunflower Earth’, 1994, where if you are standing Wales, Arts Council paintings. My husband grew a sunflower a long way from the picture it looks as England, Museum on our allotment that was so heavy it if you might be flying at night over a of Contemporary had the scale and presence of a human landscape with small lights far below you. Photography Chicago and Aperture Foundation New York.Ruth Wilbur: What draws you to face. Through videoing the flower at When close up against the surface of Helen lives andphotography? night, a void appeared which slowly the image, the viewer can see where the works in Wales and imperceptibly became substance, photograph was originally pierced and and is Reader inHelen Sear: Photographic practice resembling a disembodied eye returning LED lights embedded. You are brought Photography and Fineis really diverse and exciting at the the gaze of the viewer. I am interested simultaneously to the skin of the image Art Practice at themoment. Many emerging photographers in giving flora and fauna an equal and the fur of the animal. University of Southand artists are embracing and status in relation to human subjects. Wales.experimenting with different genres The installation of the piece is very With ‘Sightlines’ I was playing on one leveland approaches to the medium. important in order to maximise the with photographing paint and painting In 2013 Helen wasNew technologies have completely materiality of the image. Its place in photographs, where the single painted the recipient ofaltered the photographic landscape. the contemporary collection at the Glyn eye of the china bird becomes like a the Wakelin Award,Photographers are also returning Vivian via the Wakelin Award last year will talisman, held up in front of the face of which supportedto books as material objects and ensure that it will be shown in the future the sitter as protection against the all- the purchase of theinterrogating the digital image beyond in the way it was intended. consuming lens of the camera. work ‘Chameleon’ forthe photographic. the Glyn Vivian Art RW: ‘Sightlines’ 2011 is a series of RW: Tell us about the art scene in South Gallery’s permanent collection.Photography, for me, involves both portraits of women obscured by china Wales Helen will representacceleration and slowing down in equal bird figurines that act as masks. The Wales at the Venicemeasures, and sometimes a surface viewer immediately becomes aware of HS: Sadly, the temporary exhibitions Biennale in 2015.upon which to test my own physical and what they cannot see, and what has programme at Newport Museum has endedemotional existence. I am returning more been interrupted/disrupted. Do you due to funding cuts. This venue provided See Helen’s profileand more to exploring the presence of often think about the role the viewer/ a great opportunity for exciting on Axisweb >the image in a sculptural space, audience play in your work? curatorial interventions within the collection. NOTES FROM WALES | AUTUMN 2014 23

There are always new initiatives emerging RW: Tell us about your working practice I feel excited at the prospect of Helen Sear, Siteline 2, 2011either from recent graduates, current and your routines. What worries you? linking aspects of my immediate workingstudents and emerging artists in What excites you? environment in rural Wales with Venice,Wales. Third Floor Gallery Cardiff is a through both art historical andgreat example of a photographer-run HS: I spend every day working, cinematic references.organisation focussing on international or thinking about making art,contemporary documentary work. and have done for the last 30 years. I am thrilled to be working under the Helen Sear interviewed byThe National Museum, g39 and directorship of Louise Wright, David Ruth Wilbur for Axisweb’sFfotogallery are all favourites of mine I am extremely worried about Drake and the Ffotogallery team, along Artist of the Month,but I would also recommend visiting Oriel systematic and institutional with the curatorial scrutiny of Stuart April 2014, with additionsDavies in Newtown and also the wonderful indifference, and the active erosion Cameron, who gave me my first exhibition September 2014Plas Glyn Y Weddw in Llanbedrog, north of art, as a valid subject and practice, at Chapter Arts Centre in Cardiff backWales. I am also looking forward to both by government and educational in the late 1980s. This is a once-in-a- NOTES FROM WALES | AUTUMN 2014 24the re-opening of the Glynn Vivian in institutions. I hate the insidious shift lifetime opportunity for me to achieveSwansea. Finally Artes Mundi is a focus in language that has turned us all into my best work with a fantastic supportevent showcasing a selection of the “creatives” and in doing so negated network, and hopefully make Wales proud.best contemporary international work in the complex and challenging characterWales this autumn. of artists, their work and function within society. I know that I am not theRW: What was the last show you saw that only one who feels that this criticalhad an impact on your practice and why? condition needs to be addressed, as demonstrated so vibrantly at last year’sHS: Both Uncommon Ground at the Art Party Conference in Scarborough.National Museum in Cardiff and United Making art can keep you out of hospital.Enemies at the Henry Moore Institute inLeeds reminded me of the connections Growing vegetables excites me, and thebetween sculpture, photography and possibility that I could be a full-timemoving image which had such an influence artist for at least the next 20 years ofon me as an art student, and still do my life.today. RW: You’ve recently been selected toI also recently saw a mesmerising video represent Wales at next year’s Venicework by the Australian artist Hayden Biennale. What have you got planned?Fowler at the Museum of ContemporaryArt in Sydney. Titled ‘New World Order’, HS: I am working on six new works forit featured live heritage chickens in the Wales presentation in Venice nextwhat appeared to be a constructed May. They are all independent works thatlandscape. Their cries or mating calls inter-relate through sound and imagewere, or were maybe not, across the whole site, which in itself iscomputer-generated and the whole playing a major part in the formation ofpiece was a brilliantly engineered the work.balance between the natural and theconstructed. It is a huge privilege to be selected and

NOTES FROM WALES | AUTUMN 2014 25

The Rant ProfiledCreative Steffan Jones-Hughes is a visual artist basedVultures in north Wales. He has exhibited widely, mostWhere do you draw the line when it comes to sharing ideas? recently in The NationalSteffan Jones-Hughes rants about artists who help Eisteddfod of Wales,themselves and in Brussels and Amsterdam.I generally like sharing my knowledge, do something, mine them for ideas, and It is only through negative experiencesand most of the artists I know like then go away and use those ideas as your that I have learned that not all artists He has worked withsharing too, but there are some who own without acknowledging the support appreciate support given or acknowledge many galleries,don’t find this so easy. In fact there others have given you. assistance, as they bask in the glory of universities and artsare some who are so ambitious that a successful project. I like artists who organisations, includingthey’d do just about anything to get It’s fine to share, but really, where is know what they want to do and have a Tate Liverpool, theahead at the expense of their peers. the solidarity, where’s the intellectual clear personal vision, but you don’t need Regional Print Centre property right? There’s ambitious, and to be hard-faced to be a success. (Wrexham), and ArtsI’m sure we’ve all had experience of then there’s just plain rude. It’s bloody Council England inhelping others and not getting much hard to make a living as an artist as we Steffan Jones Hughes, May 2014 Yorkshire.in return - not that we do it for the all know, and we need to stick togetherreward - but even a thank you would or at least not do each other over. He is currently Artsbe nice sometimes. This makes me sad, Manager for Wrexhamsad and a bit angry! There are some in the arts who are happy County Borough Council to ask you about what you’re planning to and director of OrielAs artists we are often influenced by do over the coming year, who then just Wrecsam.others - none of us work in an artistic ‘happen’ to do something very similar.vacuum - but there are times when it I hate the question “can I just pick your You can follow him ongoes beyond an artistic conversation brain?” - it’s horrible and it describes Twitter @steffanjhand treads painfully close to plagarism. perfectly the act of these creativeIt isn’t OK, in my book, to work with vultures. See Steffan’s profilesomeone, find out exactly how they on Axisweb > Have your say > NOTES FROM WALES | AUTUMN 2014 26

Axisweb offers a cost-effective and professionalfilming service, designed with the arts industry in mindWe are visual art filmmakers, engagement specialistsand digital content producers who create bespoke films forand about museums, galleries, artists, small businesses,studios and events across the UK.Work with us to bring your story to life > NOTES FROM WALES | AUTUMN 2014 27

In Focus artist Sarah YounanWatch artist Sarah Younan working in her studio as she tells us about her currentproject with the ceramics collection at the National Museum of Wales in CardiffSee Sarah’s profile on Axisweb > NOTES FROM WALES | AUTUMN 2014 28

Open Frequency Cymraeg >Writer and curator Ciara Healy profiles Ruth Jones, whose wide-ranging work exploresthe communitarian and spiritual value of creative rituals and rites of passage in west WalesWest Wales has a very physical of a group of quarry workers found Holy Hiatus -landscape, where one can in a photograph taken in 1908. ritual, communityoften experience a profound The film begins with a rotatingsense of melancholia. 360-degree panorama shot of the and place 2008, quarry area. However, with every curated byCommunities living here can be additional rotation, layers of other Ruth Jones.fractious and suspicious of the moments in time emerge and recede.newcomer and of change, preferring In one rotation the volunteers Image: Alastairinstead the security of certainty. appear standing against the looming MacLennan Lure inCertainty is a challenging condition rocks; on another they havefor any artist to navigate, yet vanished. Rule, durationalartist Ruth Jones is aware that the performance,need for certainty comes from anunderstandable human response to Cardigan. Credit:living on this unpredictable rain- Ben Stammerssoaked edge of the Irish Sea. ‘Vigil’ (2009) also investigates ‘Building connections for communities throughRuth Jones has been living and liminality in the landscape, this sense creative rituals and rites of passage’working in West Wales since 2003. of shifting time and space. ThisHer practice as an artist, writer work is presented as an installation and perspectives in this film are in 2008 and included the work of fiveand curator is concerned with with 5:1 surround sound, creating a anchored by a rotating axis – performance and lens-based artists,building connections for communities completely immersive environment in this case the light of Strumble Head all of whom made work that addressedthrough creative rituals and rites for the viewer. It depicts a number Lighthouse in North Pembrokeshire. ritual, community and place.of passage, a process she believes of different physical spaces: a This rhythmic light seems to permeate In 2010 this project was collated intocan create new identities and social lighthouse and the surrounding both the land and the psyche of a publication, with contextual essaysrelationships. landscape irradiated by its rotating its inhabitants, accompanied by the by Jones, entitled ‘Holy Hiatus: ritual beam of light, a farmhouse interior pulsating sound of a baby’s heart. and community in public art’.‘Chwarel’ (2010) is an example of how which contains a heavily pregnantJones addresses this notion in a woman sitting alone in an empty ‘Holy Hiatus’ (2008-present day) This bilingual book, published byphysical space. This video installation room, the beam of light rhythmically began as a curatorial project and Parthian, was launched in conjunctionwork, produced in collaboration with illuminating her features. has now developed into a formal with two symposia hostingCardiff-based artist Andrea Williams, organisation involving a programme international speakers from a broadwas filmed in the disused quarries at The final world presented in this of workshops and talks by artists range of disciplines, including CulturalPorthgain in Pembrokeshire. Placing film is the bottom of the seabed, with a participatory practice. The Geography, Archaeology, Theology andan ad in local papers, Jones invited where seals dart through drifting first Holy Hiatus event Jones curated History.volunteers to dress up in the style hedgerows of seaweed. Like took place in Cardigan, Pemrokeshire, ‘Chwarel’, the multiple narratives NOTES FROM WALES | AUTUMN 2014 29

In analysing the incredibly Ruth Jones and Andrea Williams, Profiledpositive and overwhelming number Chwarel 2010, film installation withof responses to the 2008 and 5:1 surround sound Ciara Healy is a writer,2010 events, Jones discovered curator and book artist.that people in the communities This visceral project, like Jones’s Until recently she wasin this part of Wales found other work, consistently attempts the Head of Critical andsolace and comfort when they to develop an awareness of the Contextual Studies at Thewere supported to create new fecundity of the margin, of the School of Creative Arts,rituals around liminal or threshold latent possibilities of attending Coleg Sir Gar/Universityexperiences in their lives. ‘Holy more closely to what Virginia Woolf of Wales Trinity SaintHiatus’ offered scope to address once called ‘Earth Life’, in all its David and is now Lecturerthat need. mildewed, abandoned and dynamic in Art at the University of splendour. This is because Jones Reading.’The Quick and the Dead’ (2014), believes rituals to be conduits fortherefore, the most recent the most transformative kinds of In 2011 she was oneproject developed for ‘Holy embodiments. of three writers toHiatus’, will explore birth and be awarded Axisweb’sdeath rites. Jones is currently ruthjonesart.co.uk > Developing Critical Writingfocusing in particular on holyhiatus.co.uk > on Contemporary Visualforgotten or overlooked stories Arts Programme. Sinceof death and birth rituals in Wales, Ciara Healy, March 2014 then she’s written forthrough direct and experiential Art Review, Circa and Thisengagement with communities. is Tomorrow. She has also written many exhibitionAs well as curating the programme catalogue essays.of events for this project, whichwill include film screenings and Ciara is currentlyworkshops, Jones is also working studying for a PhD at theon an acoustic contribution Place Research Centre,which has been developed in University of the Westcollaboration with acoustic singer of England, Bristol, withLou Laurens. Dr. Iain Biggs under the research title: The ThinThis project will re-enact and Perception: A proposalreclaim the experience of a for a new curatorialmedical-technological labour using approach in contemporarythe human voice. Taking a CTG scan art.as a starting point, the bodilyrhythms of contractions, blood Partus, 2014 publicity image.pressure and a baby’s heart rate Collaboration with sonic artist Lou Laurens.will be translated from a 10ft longpaper trace into an acapella song NOTES FROM WALES | AUTUMN 2014 30with multiple voices.

Notes from Wales Cymraeg > ProfiledFinding your feet is Freddy worked with David Drake and Helen Warburton I began working aseasier if someone gives at Ffotogallery. His year after graduation was not an easy the Axisweb Associateyou a hand one in terms of practice. He moved to Nottingham and in Wales in November began working at the Djanogly Art Gallery, but continued 2010.Alicia Miller discusses some of the inspiring to spend time in Swansea, where he is from. He wasn’t sureprogrammes that are supporting emerging where he was going with his photography and whether he I am Axisweb’s eyesartists in Wales would continue to work in the medium he’d done his MA in. and ears on the ground in Wales, talking toA couple weeks ago, I went to Turner House to see Participating in Wish You Were Here gave a clear impetus people, writing aboutAt Home He’s a Tourist, part of Ffotogallery’s Wish You – something to work towards – and conversations its interesting andWere Here 2014. It’s a series of short exhibitions that with Helen Warburton helped hone his thinking around intense artisticFfotogallery organises every three years to showcase the work. What he produced clearly marked a new community and givingemerging talent in lens-based media here in Wales. For direction for Freddy, while still being underpinned by his Axisweb an offlinean established gallery to show work by emerging artists sophisticated engagement in questions of representation presence in theis an important form of support. It is this independent in photography. country.validation by a respected curator, gallery space orcommissioning organisation that makes the proverbial The work is lucid and thoughtful. Pulling apart a series Read Alicia’s Notesart world go round. It’s a critical first step into the of ‘Illustrated Regional Guides to Scotland and Wales’, from Wales >professional world for early career artists. he unravels its representations of place and invites us to contemplate its construction. The photographs of See Alicia’s profile onOne of the artists in At Home He’s a Tourist was Freddy photographs are a kind of mirror window on the real, Axisweb >Griffiths. I’ve known Freddy’s work since I saw it at his reflecting back on us an image of what we think we see.MA show in 2012 at Swansea Met. I got to know Freddywhen he was selected for Axisweb’s Out and Beyond Supporting the work of early career artists is usually leftprogramme, which supported five recent graduates from to artist collectives and small-scale local spaces and theyMA programmes in Wales in the development of their do important work to bring attention to unknown artists.practice during that critical year after graduation, But there is a role for mid-scale and more establishedwhere you come out of the somewhat cloistered academic organisations to play in recognising and supporting artistscommunity and into the wider contemporary art world. at an early stage of their development.Out and Beyond paired these artists – also including Wales is really fortunate to have a number of galleriesPhil Lambert, Shaun James, Ian Wilkins and Megan Wyatt – throughout the country that give space to emergingwith curators from arts organisations across Wales for artists – Mostyn’s Gallery 6, Oriel Davies’s Test Bed space,one-to-one mentoring and general advice about the art Mission Gallery’s the […] space, among others.world and how it works. The Arts Council of Wales’s new draft strategy, Inspire..., continues to directly support artists’ practice through the Creative Wales awards and small and large grants for R&D and training. NOTES FROM WALES | AUTUMN 2014 31

The low-down Freddy Griffiths, from Illustrated Regional Guides toFfotogallery, Cardiff > Scotland and Wales, 2014-----------------------------------Mostyn, Llandudno > Supporting early career artists demands some On a closing note, a big congrats to Sean----------------------------------- brave new thinking. Creating a new ‘Early Career’ Edwards for winning the Gold Medal for Fine ArtOriel Davies, Newtown > membership at Axisweb was part of recognising the at the Eistedffod this year with his film Maelfa.----------------------------------- benefit of an Axisweb profile to artists in the final Sean, who runs WARP, has been active for yearsMission Gallery, Swansea > year of university or just graduating, and making it working to support artists in Wales by developing----------------------------------- really affordable (just £15 a year) was critical. a creative range of artist professionalThe Arts Council of Wales’s development programming. He is definitely outsideInspire strategy > There are now two artist resource programmes in his box in his extraordinarily creative and rich----------------------------------- Wales, which early career artists can make use of – artistic practice and this carries over into hisWARP (Wales Artist Resource Programmme) > g39’s long established programme WARP and the just work at WARP.----------------------------------- starting up PrawN in Wrexham, initiated by JemmaPrawN > Bailey and James Harper. He’s also a great example of how our home-grown----------------------------------- networks of support can nurture and develop anEistedffod > Artists are at the centre of both programmes, artist’s career – he was a recipient of a 2010–11----------------------------------- each of which offers mentoring and advice and Creative Wales Award and has shown widely in Wales opens up critical exchange between artists, as well as throughout the UK and internationally.Axisweb members emerging and established. Artists work hard enough I reckon we’ll be seeing him in Venice in the not to make their work and get it seen – giving them too distant future.Freddy Griffths > just a little leg up at the start goes a long way.Shaun James > Alicia Miller, August 2014Phil Lambert >Ian Wilkins > NOTES FROM WALES | AUTUMN 2014 32

Axisweb directory members in WalesSusan Adams, Artist, Lecturer / academic, Brecon > Pascal-Michel Dubois, Artist, Technician, Nelson Treharris >Menna Angharad, Artist, Brecon > Rory Duckhouse, Artist, Arts administrator, Writer, Critic, Editor, Cardiff >Duncan Ayscough, Artist, Carmarthen > Heather Eastes, Artist, Aberystwyth >Jean Bailey, Artist, Swansea > Amy Edwards, Artist, Swansea >David Barnes, Artist, Newport > Geraint Evans, Artist, Maker, Cardiff >Paul Beckett, Artist, Caernarfon > Lisa Evans, Artist, Maker, Carmarthen >Ellen Bell, Artist, Maker, Writer, Critic, Teacher, Aberystwyth > Veronica Feeling, Artist, Cardiff >Sonja Benskin Mesher, Artist, Writer, Researcher, Dolgellau > Simon Fenoulhet, Artist, Project manager, Consultant, Writer, Lecturer, Cardiff >Jo Berry, Artist, Cardiff > Peter Finnemore, Artist, Llanelli >Ivan Black, Artist, Tenby > David Fitzjohn, Artist, Lecturer / academic, Cardiff >Helen Booth, Artist, Maker, Llandysul > Alice Forward, Artist, Film-maker, Aberystwyth >Alice Briggs, Artist, Aberystwyth > Moyrah Gall, Artist, Pembrokeshire >Julia Brooker, Artist, Cardiff > Bob Gelsthorpe, Artist, Curator, Arts administrator, Project manager, Writer, Cardiff >Chris Brown, Gallerist, Writer, Graphic designer, Lecturer/ academic, Cardiff > Rabab Ghazoul, Artist, Cardiff >Brendan Stuart Burns, Artist, Cardiff > Helen Gillam, Artist, Maker, Cardigan >Paul Cabuts, Artist, Efail Isaf > Thomas Goddard, Artist, Film-maker, Researcher, Gallery educator, Swansea >Stefhan Caddick, Artist, Lecturer / academic, Crickhowell > David Green, Artist, Teacher, Penarth >Nikki Cass, Artist, Swansea > Robert Michael Greetham, Artist, Ogmore by Sea >Faye Chamberlain, Artist, South Wales > James Gregory, Artist, Cardiff >Corrie Chiswell, Artist, Cardiff > Owen Griffiths, Artist, Swansea >Raymond Church, Artist, Maker, Swansea > Helen Grove-White, Artist, Amlwch >Andie Clay, Artist, Cardigan > Penny Hallas, Artist, Llangattock >Valerie Coffin Price, Artist, Cardiff > Johana Hartwig, Artist, Curator, Project manager, Digital designer, Researcher, Cardiff >Morag Colquhoun, Artist, Brecon > Kate Haywood, Artist, Cardiff >Andrew Coomber, Artist, Holywell > Andy Hazell, Artist, Knighton >Sue Corr, Artist, Teacher, North Wales > Diana Heeks, Artist, Maker, Llanrhystud >Michael Cousin, Artist, Curator, Project manager, Writer, Cardiff > Graham Hembrough, Artist, Consultant, Lecturer / academic, Trefriw >Derek Couturier, Artist, Film-maker, Mold > Alun John Hemming, Artist, Cardiff >Alison Craig, Artist, LlanfairTalhaearn > Richard Higlett, Artist, Cardiff >Alfredo Cramerotti, Artist, Curator, Critic, Lecturer / academic, Llandudno > Ainsley Hillard, Artist, Llandeilo >Isobel Crawford, Artist, Colwyn Bay > Nichola Hope, Artist, Cardiff >Neill Curran, Artist, Maker, Carmarthen > Nicola Hopwood, Artist, Hay on Wye >Vanessa Cutler, Artist, Maker, Swansea > Mark Houghton, Artist, Lecturer / academic, Hay on Wye >Tim Davies, Artist, Swansea > Mary Vivienne Husted, Artist, Curator, Writer, Barry >Angela Davies, Artist, Wrexham > Dilys Jackson, Artist, Curator, Lecturer / academic, Cardiff >Wendy Leah Dawson, Artist, Maker, Conservator, Colwyn Bay > Shaun James, Artist, Cardiff >Spike Dennis, Artist, Maker, Curator, Arts Administrator, Event organiser, Cardiff > Linda Jane James, Artist, Arts development, Gallery educator, Community work, Welshpool > NOTES FROM WALES | AUTUMN 2014 33

Catrin Jones, Artist, Swansea > Mick Petts, Artist, Maker, Consultant, Lecturer / academic, Abergavenny >Ceri Jones, Curator, Project manager, Arts development, Writer, Researcher, Cardiff > Cherry Pickles, Artist, Lecturer / academic, Pembrokeshire >David John Jones, Artist, Swansea > Michael Powell, Artist, Conwy >Paul R Jones, Artist, Lecturer / academic, Researcher, North Wales > Jonathan Powell, Artist, Curator, Gallerist, Swansea >Victoria J E Jones, Artist, Curator, Researcher, Newport > Zoe Preece, Artist, Maker, Curator, Lecturer, Researcher, Vale of Glamorgan >Steffan Jones-Hughes, Artist, Curator, Project manager, Writer, Corwen > Tim Pugh, Artist, Mancot Royal >Carole King, Artist, Maker, Curator, Newcastle Emlyn > Sue Purcell, Artist, Teacher, The Dernol Valley, nr. Llanidloes >Arron Kuiper, Artist, Cardiff > Nik Ramage, Artist, Monmouth >Phil Lambert, Artist, Maker, Project manager, Lecturer, Researcher, Cardiff > Dimitri Rastoropov, Artist, Curator, Arts administrator, Consultant, Caernarfon >Jessica Lerner, Artist, Carmarthenshire > Caroline Rees, Artist, Maker, Swansea >Elfyn Lewis, Artist, Maker, Curator, Lecturer / academic, Cardiff > Sarah Rhys, Artist, Abergavenny >Elizabeth Lewis, Artist, Cardiff > Shani Rhys James, Artist, Llangadfan >George Little, Artist, Swansea > Michael Roberts, Artist, Writer, Researcher, Aberystwyth >Carolyn Little, Artist, Swansea > Jason Rouse, Artist, Cardiff >Jorge Lizalde, Artist, Film-maker, Cardiff > Ian Paul Rylatt, Artist, Aberystwyth >David Lloyd, Artist, Maker, Project manager, Graphic designer, Community work, Kidwelly > Paula Rylatt, Artist, Aberystwyth >Ben Lloyd, Artist, Community work, St. Davids > Helen Sear, Artist, Raglan >Nick Lloyd, Artist, Welshpool > Dianne Setch, Artist, Penarth >Jessica Lloyd-Jones, Artist, Maker, Digital designer, Llangollen > Terry Setch RA, Artist, Penarth >Blue MacAskill, Artist, Project manager, Consultant, Gallery educator, Powys > Matt Sherratt, Artist, Maker, Conwy >Victoria Malcolm, Artist, Gallerist, Project manager, Carmarthen > Alan Slater, Artist, Llandrillo-yn-Rhos >Nick Martin, Artist, Ammanford > Andrew Smith, Artist, Maker, Lecturer / academic, Harlech >Clare Maynard, Artist, Wales > Rebecca Spooner, Artist, Project manager, Event Organiser, Arts development, Crickhowell >Natasha Mayo, Artist, Maker, Writer, Lecturer / academic, Researcher, Cardiff > Antonia Spowers, Artist, Maker, Brecon >Philip McAthey, Artist, Film-maker, Ferryside > Peter Spriggs, Artist, Llanelli >Paul McConnachie, Artist, Lecturer / academic, Teacher, Researcher, Connahs Quay > Amy Sterly, Artist, Writer, Teacher, Community work, Llanfair Caereinion >Anne-Mie Melis, Artist, Gallery educator, Pontypridd > Jeremy Stiff, Artist, Brecon >Alicia Miller, Project manager, Consultant, Event organiser, Writer, Lecturer, Cardigan > Alana Tyson, Artist, Gallery educator, Llandudno >James Moore, Artist, Curator, Cardiff > Jean Walcot, Artist, Cardiff >Loraine Morley, Artist, Welshpool > Philip Watkins, Artist, Teacher, Crickhowell >Jackie Morris, Artist, Arts administrator, Cardiff > Stephen West, Artist, Curator, Welshpool >Sigrid Muller, Artist, Swansea > Alan Whitfield, Artist, Film-maker, Community work, Mochdre >Linda Norris, Artist, Maker, Arts development, Community work, Haverfordwest > Mandy Wilkinson, Artist, Llangollen >Brenda Oakes, Artist, Project manager, Consultant, Researcher, Neath Valley > Martin Williams, Artist, Maker, Project manager, Swansea >Jeanette Orrell, Artist, Corwen > Sue Williams, Artist, Cardiff >Clinton Osborne, Artist, Newport > Pip Woolf, Artist, Maker, Film-maker, Llangynidr >Heather Parnell, Artist, Penarth > Dawn Woolley, Artist, Lecturer / academic, Researcher, Cardiff >Gustavius Payne, Artist, Merthyr Tydfil > Catherine Wynne-Paton, Artist, Abergavenny >Marged Pendrell, Artist, Maker, Lecturer / academic, Penrhyndeudraeth > Sarah Younan, Artist, Maker, Project manager, Lecturer, Researcher, Cardiff > NOTES FROM WALES | AUTUMN 2014 34

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