'That morning he watched the dawn' Carwyn Evans by Matthew Richardson

Y BORE HWNNW, GWYLIODD Y WAWR YN TORRI CARWYN EVANS THAT MORNING HE WATCHED THE DAWN

RHAGARWEINIAD ALEX BOYD Mae catalog arddangosfa yn cyflwyno dogfennaeth i fodoli y tu hwnt i natur ddarfodedig arddangosfa yn ogystal ag i hyrwyddo gwaith yr artist y tu hwnt i’r gofod a roddir iddo yn yr oriel. Yn yr achos hwn, mae’n nodi ac yn gosod yn ei gyd-destun waith a gomisiynwyd yn ddiweddar gan yr artist Carwyn Evans ar gyfer ei arddangosfa Y bore hwnnw, gwyliodd y wawr yn torri yn Oriel Davies Gallery wrth nodi pwynt pwysig yn nhaflwybr ymarfer yr artist. Mae’r cyfraniadau ar ffurf traethawd gan yr artist a'r curadur Louise Short, a'r ysgrifennwr a'r darlledwr, Mike Parker, yn cyflwyno ymatebion meddylgar i arferion Evans tra’n craffu ar rai o’r pynciau yr ymchwilir iddynt ac y cyffyrddir arnynt yn ei waith. Mae Evans yn defnyddio arddull cerfluniol sydd wedi ei symleiddio, gan weithio gyda gwrthrychau sy’n bodoli’n barod a rhai a gynhyrchwyd yn benodol (ac sy’n aml wedi eu gwneud yn grefftus iawn) i gyfeirio at brofiad personol a dealltwriaeth, tra ar yr un pryd yn archwilio newidiadau gwleidyddol a chymdeithasol ehangach yn y Gymru wledig. Y mae wedi, ac yn parhau i fod yn beth cyffredin, i bobloedd y byd fudo o’u cartrefi (pentrefi, trefi, dinasoedd neu wledydd) i ddilyn dymuniad neu anghenraid i sicrhau gwaith; i gynnal eu hunain, eu teuluoedd neu gymunedau. Mae newidiadau parhaol yng nghyfansoddiad diwylliannol ac identiti gwledydd, dinasoedd, trefi a chymunedau gwledig yn digwydd. Mae llawer o waith Evans wedi canolbwyntio ar 'fudo' o'i fagwraeth yng Ngheredigion wledig i brifddinas Cymru Caerdydd, er mwyn dilyn ei yrfa artistig. Mae Y bore hwnnw, gwyliodd y wawr yn torri yn datblygu’r archwiliad hwnnw, gan adlewyrchu ar effaith ei ymadawiad, y gwacter a adawyd ar ôl (ffisegol a diwylliannol), a chanlyniad newid. Ar yr un pryd, mae’r sioe yn cynnwys gwaith sy’n rhoi llais i unigolion sydd wedi mudo yn ddiweddar ac wedi adleoli i famwlad yr artist i roi lle ar gyfer persbectif gwahanol.

Mae Oriel Davies Gallery yn falch o gomisiynu gwaith gan yr artist ifanc cyffrous hwn ac i gyflwyno ei sioe unigol fawr gyntaf a’r catalog. Mae comisiynu yn rhan hanfodol o waith Oriel Davies Gallery i gefnogi artistiaid wrth ddatblygu a dosbarthu eu gwaith. Mae’n bleser gweithio’n agos gydag artistiaid yn ystod y broses hon ac ni fu’r achlysur hwn yn eithriad. Hoffem fynegi ein diolch cynhesaf i Carwyn am ei ymrwymiad, ei waith caled a’i haelioni drwy gydol y gwaith o ddatblygu’r prosiect. Hoffem hefyd gydnabod ein diolch i Louise Short a Mike Parker am eu traethodau diddorol ac i Matthew Richardson am ddylunio’r catalog. Yn y pen draw ni fyddai gwireddu’r prosiect hwn wedi bod yn bosib heb gymorth parhaus ein cyllidwyr; Sefydliad Esmée Fairbairn a Chyngor Celfyddydau Cymru, ac rydym yn hynod ddiolchgar iddynt. Alex Boyd, Curadur, Oriel Davies Gallery

INTRODUCTION ALEX BOYD An exhibition catalogue presents documentation which exists beyond the transient nature of an exhibition, as well as promoting the artist’s work beyond the gallery space. In this case, it marks and contextualises newly commissioned work by artist, Carwyn Evans for his exhibition That morning he watched the dawn at Oriel Davies Gallery, whilst signifying an important point in the trajectory of the artist’s practice. The essay contributions from artist and curator, Louise Short and the acclaimed writer and broadcaster, Mike Parker, present insightful responses to Evans’ practice whilst extending scrutiny on the some of the issues explored and touched upon in his work. Evans skilfully utilises a pared down sculptural aesthetic, working with both existing and specifically produced (and often highly crafted) objects, to reference personal experience and understanding, while at the same time examining broader social political changes in rural Wales. It is, and has always been, common to much of the world’s population to migrate from their homelands (villages, towns, cities, or countries) to follow a desire or a necessity in securing work; to support themselves, families or communities. Permanent shifts in the cultural makeup and identity of countries, cities, towns and rural communities are taking place. Much of Evans’ practice has focused on his ‘migration’ from an upbringing in rural Ceredigion to the Welsh capital, Cardiff, in order to pursue his artistic career. That morning he watched the dawn builds on that examination, reflecting the impact of his leaving, the subsequent void left behind (both physical and cultural), and the consequence of change. At the same time, the exhibition encompasses work which gives voice to individuals who have recently migrated and relocated to the artist’s homeland to allow room for an alternative perspective.

Oriel Davies Gallery is proud to commission work by this exciting young artist and to present his first major solo show and catalogue. Commissioning is an essential part of Oriel Davies’ remit in supporting artists in the development and dissemination of their practice. It is a pleasure to work closely with artists during this process and this occasion has been no exception. We would like to express our warmest thanks to Carwyn for his commitment, hard work and generosity throughout the project’s development. We would also like to acknowledge our gratitude to Louise Short and Mike Parker for their engaging essays, and to Matthew Richardson for the design of the catalogue. Ultimately, the realisation of this project would not have been possible without the continued support from our funders; the Esmée Fairbairn Foundation and the Arts Council of Wales, to whom we are grateful. Alex Boyd, Curator, Oriel Davies Gallery

CHWYDDO MIKE PARKER Diolch i Google Earth a’i debyg, rydym yn awr yn gwbl gyfarwydd â’r syniad o chwyddo i mewn ac allan o’n tirluniau yn hynod o gyflym. Mewn mater o eiliadau gallwn fynd o hofran ymhell uwchben cyfandir cyfan, i fynd i lawr i archwiliad manwl o’n garddiau cefn ein hunain - neu yn fwy diddorol, rhai ein cymdogion, ffrindiau a dieithriaid llwyr. Mae’r datblygiad rhyfeddol hwn wedi arwain at lawer o hobïau newydd, o fusnesa mewn gosodiadau milwrol a oedd cyn hynny’n rhai dirgel i bartïon ar y pryd yng ngerddi'r rhai hynny gyda phyllau nofio preifat. Mae’r chwyddo yma wedi dod yn rhywbeth sy’n digwydd yn aml gan y cyfryngau newyddion, sy’n cael ei ddefnyddio’n gynyddol i egluro eu storïau. Gallwch weld pam: mae’n awgrymu eich bod yn cadw golwg ar y byd i gyd a dyma ni, yn gwibio tuag at y ddaear i gymryd manylion i mewn o’r llinell flaen heddiw, boed hynny yng ngwlad Tai, Tobago neu Drefeglwys. Gall y newid persbectif sydyn eich gwneud yn benysgafn, gan awgrymu awyren yn plymio tua’r ddaear yn hytrach na llygad holl weledol y BBC neu Sky News. Fel mor aml mewn bywyd, mynegodd y Super Furry Animals y syniad braidd yn fwy cain. Roedd eu halbwm Cymraeg Mwng, o 2000, yn diweddu gyda thrac arbennig oedd yn dechrau ar y ddaear yma yng Nghymru (“Yma yw lle dewisom ni / I gael plannu gwreiddiau dwfn”), cyn ein codi yn raddol i fyny i’r nefoedd a gweld ein darn bach o dir yn encilio i ddinodedd cosmig. Mae’n diwn sy’n tawelu eich enaid a hefyd yn torri eich calon yr un pryd: hanfod perthynas y Cymry gyda’u milltir sgwâr. Mae degawd o fyw yng nghanolbarth Cymru wedi newid fy mhersbectif ar y tirlun. Wrth gyrraedd fel ysgrifennwr teithio brwdfrydig iawn, yr olwg eang ar y Gymru hynod ffisegol a’m denodd i. Yn fuan, dechreuodd fy ffordd o edrych ar bethau chwyddo’r olygfa mor gyflym â fflach newyddion y BBC, yn hytrach na’r golygfeydd cerdyn post a lluniau’r llyfrau taith, manylion y tir a fabwysiadwyd gennyf oedd yn fy rhyfeddu. Dechreuodd yn y byd ffisegol: patrwm cen cerrig a mwsoglau ar goed neu greigiau arbennig, y

pyllau tro a’r mannau lle gellid gweld gweision y neidr ar afonydd lleol, gwybod lle byddai’r mafon cochion gorau yn y gwrychoedd neu’r madarch gwyllt yn ymddangos yn fuan. Po fwyaf yr arhoswn yn myfyrio arnynt, po fwyaf y byddai pob manylyn yn datblygu cyd-destunau a oedd yn ddiwylliannol, yn ysbrydol, yn wleidyddol: yr edafedd anweledig sy’n clymu cymunedau gyda’i gilydd, hyd yn oed y rhai hynny sydd wedi eu lledaenu dros filltiroedd lawer sy’n ymddangos yn anghysbell, yr Hen Ffyrdd di-dor sy’n wincian o dan argaen duwioldeb y capel, sugndraeth colled - o ffermydd i goed conwydd, diwydiant i adfeilion rhydlyd, poblogaeth i ‘bobl o ffwrdd’, Cymraeg i Saesneg - roedd hynny’n sail i’r cyfan. Mae gwaith Carwyn Evans yn chwarae gyda’r newid hwn mewn persbectif. Mae’n treiddio at fanylion lleiaf y plot a esgorodd arno, ac yna’n ein tynnu’n ôl i gymryd golwg ehangach cyn ein plymio yn ôl i mewn eto. Os yw hynny’n gwneud i’r cyfan ymddangos yn gymysglyd ac yn gwrthddweud ei hun, yna ni ddylai fod felly, oherwydd ei dalent clir fel artist, ynghyd â synhwyrau effro o ddynoliaeth a hiwmor, sy’n atal anhrefn o’r fath. Mae’r gwreiddiau a welwn yma, fel yn y portreadau o gartref ei blentyndod a’i rieni, neu’r teclynnau a luniodd eu dwylo, yn helpu i’w leoli ar y map, ond dyw hynny yn dweud dim ond rhan o’r stori. I ddechrau, lleolir y dylanwadau hyn mewn ardal rydw i ers amser hir wedi dadlau sy’n ateb Cymru i Driongl Bermiwda: glannau Teifi sy’n ffindir rhwng Ceredigion a Sir Gaerfyrddin, ardal sy’n herio rhaniadau confensiynol o deyrngarwch sirol, gwleidyddiaeth, trefol / gwledig a diwydiant / amaethyddiaeth. Faint bynnag o weithiau yr af yno, rwyf bob amser yn mynd ar goll i lawr ffyrdd na allaf eu cofio o ymweliadau blaenorol; mae’n ymddangos yn amhosib ei hadnabod. Os yw ei wreiddiau ef yno yn y gornel anodd ei hadnabod hon o Gymru, mae canghennau Carwyn wedi lledaenu ymhell ac yn agos. Mae’n un o griw cynyddol o’r gorllewin a’r gogledd gwledig sydd wedi ail-fywiogi’r brifddinas, Caerdydd, ac wedi dyblu ei chyfran o siaradwyr Cymraeg mewn

llai nag ugain mlynedd. Yn y cyfamser, mae’r iaith wedi llithro ymhellach yn ei chadarnleoedd ei hun, o dan bwysau diboblogi gwledig, globaleiddio a symudiad di-ildio pobl ar draws ffiniau cenedlaethol. Yn Llanybydder, y dref farchnad fechan ar lannau afon Teifi er enghraifft daw deuparth y 420 o weithwyr yn lladd-dy Dunbia (Oriel Jones gynt) o wledydd tramor, gwlad Pwyl yw'r amlycaf, cyfran sy’n amhosib eu colli mewn dyffryn yng ngorllewin Cymru. Mae persbectif yn newid, wrth chwyddo i mewn ac allan, neidio ar draws ffiniau ac ailsefydlu ei hun gydag anesmwythder cyflym sydd weithiau yn ddigon i’ch drysu. Mae’r olygfa yn ddiamser ac yn ddiflanedig, ein her fwyaf a’n cyfle mwyaf beiddgar. Mike Parker, Ionawr 2009 Mae Mike wedi ysgrifennu pum argraffiad o’r Rough Guide to Wales a dyma’r unig awdur sydd wedi cyd-ysgrifennu’r Rough Guide i Loegr, yr Alban a Chymru yn ogystal a bod â saith o lyfrau tywys eraill wedi eu cyhoeddi (gan Harrap a GMP) i rannau o Brydain ac Iwerddon. Mae Mike yn cyfrannu erthyglau yn rheolaidd i Planet: the Welsh Internationalist (gan ennill gwobr Attitude 2001 am ddarn gorau y flwyddyn) ac mae wedi ysgrifennu i lawer o bapurau yng Nghymru ac yn y DU. Gwelodd ei gyfres, Coast to Coast ar ITV Cymru (2003-4) Mike yn hwylio o amgylch arfordir Cymru gyfan ac yn ystod ei brosiect i HTV ar ôl hynny a ddangoswyd yn 2008, Great Welsh Roads, gwelwyd ef a’i gi ffyddlon yn crwydro Cymru mewn camper fan, gan chwilio am y rhyfeddol, y doniol a’r abswrd. Cyhoeddwyd ei lyfr Neighbours from Hell?, a gyhoeddwyd gan y Lolfa, yn edrych ar hanes agweddau’r Saeson at Gymru a’r Cymry, yn 2007. Cyhoeddir ei lyfr nesaf Map Addict, astudiaeth fywiog ac annwyl o le mapiau yn ein hanes a’n diwylliant, gan Harper Collins yng ngwanwyn 2009. Mae Mike Parker yn byw yn nyffryn Dulas yng nghanolbarth Cymru, ger prifddinas hanesyddol Cymru, Machynlleth.

ZOOM MIKE PARKER Thanks to Google Earth and its ilk, we are now fully familiar with the idea of zooming in and out of our landscapes at breakneck speed. In a matter of seconds, we can go from hovering far above an entire continent, to crashing down into a close-up inspection of our own back yards – or, more interestingly, those of our neighbours, friends and complete strangers. This startling advance has bequeathed many new hobbies, from poking our noses into erstwhile secretive military installations to impromptu parties in the gardens of those with private swimming pools. The zooming in has become a regular shtick of the news media, who increasingly use it to illustrate their stories. You can see why: it infers that they are keeping tabs on the whole globe and, here we are, hurtling earthwards to take in some detail from today’s frontline, be it in Thailand, Tobago or Trefeglwys. The sudden change of perspective can be dizzying, however, suggesting an aeroplane in free-fall rather than the all-seeing eye of the BBC or Sky News. As so often in life, the Super Furry Animals caught the idea rather more elegantly. Their Welsh-language album Mwng, from 2000, concluded with an epic track that started on the ground here in Wales (“Yma yw lle dewisom ni / I gael plannu gwreiddiau dwfn”: “This is the place that we chose / To plant the deepest roots”), before lifting us up gently into the heavens and seeing our little patch of land recede into cosmic insignificance. It’s a tune that soothes your soul while it breaks your heart: the very epitome of the Welsh relationship with its milltir sgwar*. A decade of living in mid Wales has played merry hell with my perspective on the landscape. Arriving as a fired-up travel writer, it was the broadbrush view of a dazzlingly physical Wales that attracted me. Soon, my outlook began to zoom in as fast as a BBC newsflash: instead of the postcard views and guide book sights, it was the unsung detail of my adopted patch that enthralled and absorbed me. It started in the physical realm: the patterns of lichen and mosses on particular trees or rocks, the

whirlpools and dragonfly hotspots in local rivers, knowing where the best hedgerow raspberries or wild mushrooms would shortly appear. The longer I lingered, however, the more each detail developed contexts that were cultural, spiritual, political: the invisible threads that bind communities together, even those spread over many apparently remote miles, the unbroken Old Ways winking from beneath the cracked veneer of chapel piety, the quicksand of loss – of farms to conifers, industry to rusty ruin, population to ‘away’, Cymraeg to English – that underpinned it all. Carwyn Evans’ work plays with this change in perspective. He goes in deep to the tiniest details of the plot that spawned him, and then tugs us back to take a wider look, before plunging us back in again. If that makes it sound muddled and contradictory, then it shouldn’t, for it is his clear-eyed talent as an artist, together with sharp senses of humanity and humour, that prevents such chaos. The roots that we can see here, such as in the portraits of his childhood home and parents, or the farm tools fashioned from their hands, help locate him on the map, but that tells only a fraction of the story. For starters, these influences are located in an area that I have long contended to be Wales’ answer to the Bermuda Triangle: the Teifi-side borderlands of Ceredigion and Carmarthenshire, an area that defies conventional divides of county loyalty, politics, urban / rural and industry / agriculture. No matter how many times I go there, it always conspires to get me lost and disoriented down roads I can’t recall from previous visits; it seems impossible to nail down. If his roots are there in this opaque corner of Wales, Carwyn’s branches have spread far and wide. He is one of a growing cavalcade from the rural west and north who have revivified the capital, Cardiff, and doubled its proportion of Welsh speakers in less than twenty years. Meanwhile, the language has slipped further in his own heartland, under the pressures of rural depopulation, globalisation and the inexorable movement of people across national

borders. In the small Teifi-side market town of Llanybydder, for instance, over two-thirds of the 420 workers in the Dunbia (né Oriel Jones) abattoir come from abroad, most noticably Poland, a proportion impossible to lose in a west Welsh valley. Perspectives are changing: zooming in and out, hopping across boundaries and re-positioning themselves with rapid, and sometimes bewildering, restlessness. The view is both timeless and fleeting, our greatest challenge and our boldest opportunity. Mike Parker, January 2009 * milltir sgwar – “square mile”: a phrase much used in Welsh to define your patch of land, the place that created you, the location that tugs your heartstrings when hiraeth – another uniquely Welsh concept for a yearning that is tied to a particular place – kicks in. Mike Parker has written five editions of the Rough Guide to Wales and is the only author to have co-written the Rough Guide to England, Scotland and Wales as well as having had seven other guide books published (by Harrap and GMP) to parts of Britain and Ireland. He is a regular columnist for Planet: the Welsh Internationalist (winning the 2001 Attitude award for the best piece of the year) and has written for many of the Welsh and UK papers. His ITV Wales’ series, Coast to Coast (2003-4), saw Mike sailing around the entire Welsh coast and his subsequent ITV project aired in 2008, Great Welsh Roads, saw him and his faithful dog comb Wales in a camper van, hunting out the amazing, the amusing and the absurd. His book Neighbours from Hell?, published by Y Lolfa, looking at the history of English attitudes to Wales and the Welsh, was published in 2007. His next book, Map Addict, a lively and loving study of the place of maps in our history and culture, will be published by Harper Collins in spring 2009. Mike Parker lives in the Dulas valley of mid-Wales, near the historic Welsh capital, Machynlleth.

TORRI CWYS LOUISE SHORT Maestref Los Angeles, Riviera Lloegr, canol tref Caracas neu Geredigion, mae’n wirionedd diymwad fod lle cafodd rhywun ei fagu yn cael effaith ddofn ar ei hunaniaeth. Mewn diwylliant sydd, am nifer da o resymau, yn synfyfyrio ar fanylion hunaniaeth ddiwylliannol, nid yw’n syndod gweld arlunwyr yn trafod materion fel hyn mewn ffyrdd gweledol. Gellir cyhuddo rhywun o arwynebolrwydd wrth ddiffinio elfennau gwaith arlunydd yn ôl eu tarddiadau ffisegol, yn enwedig os yw'n tueddu i ystrydebu. Gyda’r ystyriaeth yma ym mhlaenaf yn fy meddwl byddaf yn archwilio sut mae gwaith Carwyn Evans yn amau’r gynsail diriogaethol hon o ran cymdeithas, daearyddiaeth a diwylliant. Sut ddelwedd mae Cymru wledig yn ei godi ym meddwl rhywun? Sut mae’r gwir a’r dychmygol yn cael eu dehongli heddiw? I rai ohonom ni, daeth cefn gwlad yn ddim ond golygfa neu ar y gorau yn faes y gad. Yn ystod y blynyddoedd diwethaf mae trychineb Chernobyl, BSE, clwy’r traed a'r genau, y parciau themâu Disneyesque Celtaidd sy’n codi fel madarch, heb sôn am effaith deddfau'r Undeb Ewropeaidd a’i effaith ar ffermio defaid, wedi newid llawer ar gymunedau gwledig Cymru. Mae cymunedau gwledig Cymru’n teimlo’n dyfnach fod diwylliant Cymru’n cael ei fwrw o’r neilltu. I Carwyn Evans, daeth y materion yn ganolog i’w waith presennol; er nad yw’n cyd-fynd gyda’r diffiniad o un ai hanfodwr rhamantaidd neu fformalydd Cymreig cyfoes. Mae Carwyn wedi cofleidio’r dywediad dwys (yn wir, ffeministaidd) ‘Mae’r personol yn wleidyddol’. Mae’r gwaith gymaint ynghylch ei berthynas â’i deulu (yn enwedig ei dad) ag ynghylch y syniad o 'famwlad' ddiflanedig. Yn Offer Llaw (t.10-11 & 36-37) mae offer ffermio wedi’u gwneud o gastiau o ddwylo ei fam a’i dad yn cyfeirio at y cysylltiad corfforol â’r ddaear trwy’r cenedlaethau. Gellir eu defnyddio fel offer amaethyddol gan eu bod wedi’u creu o fetel caled ac eto maen nhw’n dangos olion tynerwch a nerth dwylo dynol sy’n ‘adnabod y tir’. Bu teulu Carwyn yn ffermio yn ac o amgylch Llandyfrïog am ddeg mlynedd ar hugain a chyn bo hir daw'r ffordd yma o fyw araf i ben wrth i’w rieni'n heneiddio a chyrraedd oed 'ymddeol’. Mae’r cerflun hwn yn bortread teuluol nerthol sy'n nodi ennyd arwyddocaol mewn amser. Dangosir arwyddion o newid mewn ffyrdd sensitif, tebyg, trwy set o

bortreadau o weithwyr Pwylaidd o'r lladd-dy lleol (Meddwl am Adref, t.3843). Wrth iddyn nhw feddwl am ‘gartref’ gyda’u llygaid yng nghau, allwn ni ond dychmygu pa ddelweddau sy’n cael eu creu ym meddyliau’r gweithwyr o fewnfudwyr hyn. Mae cyswllt anorfod rhwng y cof a ffotograffiaeth fel sydd yng ngwneuthuriad mynegrifol olion bysedd. Daw ‘Labour Anonymous’ Walker Evans i’r cof. Tynnodd Walker Evans bortreadau o weithwyr yn cerdded i ac o’r gwaith ar strydoedd Detroit ym 1946. Fel llawer o'i waith, roedden nhw’n cael eu gweld yn cynrychioli'r ‘gwir' America'r adeg hynny yn hytrach na rhyw syniad o’r freuddwyd Americanaidd. Yn ôl yng Nghymru gyfoes mae pedwar cant ac ugain o bobl yn gweithio yn y lladd-dy yn Llanybydder. Yno, mae cig oen wedi'u magu yng Nghymru yn bennaf yn cael eu dosbarthu, eu lladd a'u pacio gan amcangyfrif o ddau gant a deg o Bwyliaid, hanner cant o weithwyr o wledydd megis Slofacia, Portiwgal a'r Weriniaeth Siec a chant chwedeg o weithwyr lleol*. Mae’r dref yn ymfalchïo yn ei Polski ‘Sklep’ ei hunan (y cyn siop cigydd lleol) sy’n gwerthu nwyddau Pwylaidd cyfarwydd i’r mewnfudwyr. Mewn Iddew-Almaeneg mae’r gair ‘schlep’ yn golygu taith lafurus, llusgo neu dynnu. Newid ddaeth o rod i rod yn wir. Mae Symudiad (Bro Dyfriog) (t.6-9) yn awgrymu golwg mwy sinistr ar newid. Mae'r bygythiad o ddieithriaid yn meddiannu'r pentref yn raddol, yn wir gartref rhieni Carwyn, yn cyflwyno dilema sydd wedi’i fynegi o’r blaen yn ei waith. Mae siaradwyr Cymraeg yn symud allan o’r pentrefi, eiddo’n cael ei werthu i bobl ddieithr ac ystadau o dai newydd sy’n cael eu datblygu yn dod â phroblemau newydd, digroeso, i’r cymunedau sydd wedi gwreiddio’n ddwfn yn yr ardal. Mae Ymddangosai popeth mor syml a phrydferth (t.18-21) yn gasgliad o dioramas bychan o safleoedd sydd o dan fygythiad yn yr ardal (ysgol wledig, siop y pentref ac adfeilion ffermdy er enghraifft) sydd, ar yr un pryd, yn lleoedd i lanio yn ogystal â bod yn lleoedd cysgodol i orffwys a myfyrio yn eu cylch. Unwaith eto mae’r cyfeiriad at ffoi yn awgrymu mewnfudo ac allfudo, i mewn ac allan. Mae nythaid o fyrddau’n yn cael ei ddangos wedi’u rhychu gan yr aradr (Troi, t.24-27). Mewn ymdrech i ddianc o’r cylch cymdeithasol gall rhywun

disgyn i fagl y math o rodres sy’n gynhenid ym moesgarwch y bwrdd coffi, neu nythaid o fyrddau sy’n sefyll yn gysglyd nes y daw’r ficer am de bach. Drwy rychu i'r byrddau, mae Evans yn torri trwy'r haen wyneb, gan hollti'r pren. Drwy ddryllio’r arwyneb (yn dynwared medr a deheurwydd yr yr aradwr yn y cae) mae’n dinoethi gwir natur y dodrefn rhad, yn ymestyn ei arwynebedd ac yn dinistrio’i bolish ffrengig ffug. Yn ysgythriadau rhagorol Carwyn o gaeau wedi’u haredig, mae’n rhoi sylw i dorri’r rhych a dilyn hyn drosodd a throsodd, fel petaem yn gorfod dilyn y sianel (neu’r rhigol) gwreiddiol. Yn y darlun athronyddol dwfn Tirlun gyda chwymp Icarws (1) mae Breugel yn dangos ymdrech aruthrol Icarws i ddod yn dduw. Canlyniad ei ymdrech oedd methiant disylw, gan fod yr yr aradwr wedi parhau gyda thasg llawer pwysicach aredig ei gae ar ben y clogwyn a methodd weld y sioe o Icarws yn disgyn ar ei ben i’r môr islaw. Mae’r llun yn dangos un o’r cyhuddiadau pennaf yn y gred o ragoriaeth dyn dros natur. Mae cyd-destun ymarfer Carwyn wedi’i greu trwy ddealltwriaeth ddofn o iaith weledol, hanes a thirlun. Mae llawer o agweddau cymhleth a chroes i’r gwaith gan gynnwys colled, dathlu a hiwmor dynol. Mae llwyddo i ddangos sefyllfeydd anodd fel hyn yn beth brin. Louise Short, artist a churadur, Ionawr 2009 1. Tirlun gyda chwymp Icarws. c.1558. Olew ar gynfas, wedi’i osod ar bren. Musees Royaux des Beaux-Arts de Belgique, Brwsel. * Yn ôl Carwyn Evans fis Ionawr 2009. Artist a churadur yw Louise Short sydd wedi arddangos yn eang yng Ngorllewin a Dwyrain Ewrop, y Dwyrain Canol ac Awstralia, ac y mae ei gwaith yng Nghasgliad Cyngor Celfyddydau Lloegr. Hi yw sefydlydd a chyfarwyddydd STATION, canolfan ymchwil a datblygu ar gyfer celf ym Mryste. Mae artistiaid preswyl a fu yno yn cynnwys Phyllida Barlow, Louis Nixon, a Michael Snow ymysg sawl arall. Hefyd, fe gydsefydlodd ALLAS, (y Gwasanaeth Cynghori ar gyfer Mentrau dan Arweiniad Artistiaid), sydd wedi bod yn cefnogi mentrau dan arweiniad artistiaid yn Ne Orllewin Lloegr am y deng mlynedd diwethaf. Ar hyn o bryd, mae hi’n Uwch Ddarlithydd mewn Celfyddyd Gain ar lefel raddedig ac ôl-raddedig yn Athrofa Prifysgol Cymru, Caerdydd, ac yn Ddarlithydd Cyswllt ym Mhrifysgol Plymouth ac yn Ysgol Gelf Camberwell.

PLOUGHING THE FURROW LOUISE SHORT Whether one is from suburban Los Angeles, the English Riviera, downtown Caracas or Ceredigion, it is an undeniable reality that the precise location, or locations, of one’s upbringing has a profound effect on one’s identity. In a culture that is, for a good number of reasons, preoccupied with the specifics of cultural identity, it is not surprising to see artists negotiating such issues in visual ways. One may be accused of superficiality by defining the elements of an artist’s practice by their physical origins, particularly if one strays into stereotyping. With this consideration foremost in my mind I will explore how the work of Carwyn Evans questions the premise of such territory in social, geographic and cultural terms. What kind of image does rural Wales conjure up in one’s mind? How does the real and the imaginary translate in these times? To some of us the countryside has become at least mere spectacle, or at most a battleground. In recent years the Chernobyl disaster, BSE, foot and mouth, mushrooming Disneyesque Celtic theme parks, not to mention the effect of EEC laws and its impact on sheep farming, have done much to change rural communities in Wales. The marginalisation of Welsh culture is more deeply felt in its rural communities. For Carwyn Evans these issues have become central to his current practice; though he does not fit within the definition of either romantic essentialist or contemporary Welsh formalist. Carwyn has embraced the profound (indeed feminist) adage ‘The personal is the political’. The work is as much about his relationship to his family (particularly his father), as it addresses the notion of a disappearing ‘fatherland’. In Hand Tools (p.10-11 & 36-37) farming implements made from casts of his father’s and mother’s hands allude to the physical connection with the earth through the generations. They can function as agricultural tools since they are made of hard metal and yet bear traces of both tenderness and strength in human hands which ‘know the land’. Carwyn’s family have been farming in and around Llandyfriog for thirty years and soon this way of life will become redundant, as his parents get older and reach ‘retirement’. This sculptural work is a powerful family portrait which marks a significant moment in time.

Signs of change are documented in similarly sensitive ways through a set of portraits of Polish workers from the local slaughterhouse (Think of Home, p.38-43). Briefed to think of ‘home’ whilst eyes are closed, we can only speculate what images are being summoned up in the minds of these immigrant workers. Memory and photography are inextricably linked, as are the indexical makings of fingerprints. Walker Evans’ ‘Labour Anonymous’ comes to mind. Walker Evans made portraits of workers walking to and from work in the streets of Detroit in 1946. Like much of his work they have been seen to represent ‘the real’ America at the time rather than some idea of the American dream. Back in contemporary Wales, four hundred and twenty people work in the slaughterhouse in Llanybydder. Mainly Welsh-bred lamb are dispatched, butchered and packed there by a current estimate of two hundred and ten Polish, fifty from nationalities including Slovakian, Portuguese and Czech and around one hundred and sixty local workers*. The town boasts its own Polski ‘Sklep’ (formally the local butchers shop) which provides familiar Polish groceries to the immigrant workers. In Yiddish the word ‘schlep’ translates as an arduous journey, to lug or drag. Times are indeed changing.

Movement (Bro Dyfriog) (p.6-9) suggests a more sinister view of change. The potential takeover of the village, indeed Carwyn’s parents’ home, presents a dilemma expressed before in his work. The migration of Welsh speakers out of the villages, property sales to non indigenous people and development of new housing estates bring new challenges, some unwelcome, to the communities who have long histories in the area. Everything seemed so simple and beautiful (p.18-21), a collection of miniature dioramas of sites under threat in the area (a rural school, village shop and a farmhouse in ruins, for example) are simultaneously places to land as well as being sheltered spots to rest and ponder on. Again the reference to flight suggests (im)migration, both in and out. A nest of tables stands furrowed by the plough (Turn, p.24-27). In an effort to escape one’s social sphere one may fall into the trap of the kind of

pretentiousness inherent in the politeness of the coffee table, or a nest of tables that stands dormant until the vicar comes for afternoon tea. By ploughing into these tables, Evans cuts through this veneer, splintering the wood. By shattering the surface (mimicking the skill and dexterity of the ploughman in the field) he exposes the natural physicality of cheap furniture, extending its surface area and devastating its faux french polish. In Carwynâ&#x20AC;&#x2122;s exquisite etchings of ploughed fields, he remarks on the cutting of the furrow and the following of this line over and over again, as if we are obliged to follow the original channel (or rut). In the deeply philosophical painting Landscape with the Fall of Icarus (1) Breugel illustrates the tremendous effort on the part of Icarus to become a god. His exertion resulted in unnoticed failure, since the ploughman continued with the far more important task of ploughing his field on the cliff top above and missed the spectacle of Icarus plunging headfirst into the sea below. This painting represents one of the greatest indictments of the belief of human superiority over nature. The context of CarwynÂ´s practice has been forged through a deep understanding of visual language, history and landscape. The work has many complex and often contradictory aspects which include human loss, celebration and humour. Such articulation of the predicament of change is rare. Louise Short, artist and curator, January 2009 1. Landscape with the Fall of Icarus. c.1558. Oil on canvas, mounted on wood. Musees Royaux des Beaux-Arts de Belgique, Brussels. * As quoted by Carwyn Evans in January 2009. Louise Short is an artist and curator who has exhibited widely in Western and Eastern Europe, the Middle East and Australia, and whose work is in the Arts Council of England Collection. She is founder and director of STATION, a research and development centre for art, in Bristol. Artists who have been in residence there include Phyllida Barlow, Louis Nixon, and Michael Snow amongst many others. She also co-founded ALIAS, the Artist-Led Initiative Advisory Service which has been supporting artist-led initiatives in the South West of England for the last ten years. She is currently a Senior Lecturer in Fine Art on both graduate and postgraduate levels at the University of Wales Institute, Cardiff, and Associate Lecturer at the University of Plymouth and Camberwell School of Art.

RHESTR GWEITHIAU Tudalen 1

Fel yr ydych, 2009 Print math-C wedi'i fframio Ffotograff, 18 x 18”, 29 x 29" mewn ffrâm

Tudalen 36-37

Offer Llaw, 2009 (gwaith wrth law, model plastr ar gyfer castio mewn haearn) Gwaith gorffenedig: Haearn wedi'u castio Cerflun, 8 eitem, 450 x 170 x 80mm yr un

Tudalen 6-9

Symudiad (Bro Dyfriog), 2009 MDF, gwifr tynnol, gwydr, symudiad a darnau cloc cwcw Gosodwaith, 4 eitem, 1000 x 450 x 350mm yr un

Tudalen 38

Meddwl am Adref (Aneta Majka), 2009 Print llaw math-C wedi'i osod ar alwminiwm Ffotograff, 30 x 40"

Tudalen 10-11

Offer Llaw, 2009 (gwaith wrth law, model plastr ar gyfer castio mewn haearn) Gwaith gorffenedig: Haearn wedi'u castio Cerflun, 8 eitem, 450 x 170 x 80mm yr un

Tudalen 39

Meddwl am Adref (Arkadiusz Jablonski), 2009 Print llaw math-C wedi'i osod ar alwminiwm Ffotograff, 30 x 40"

Tudalen 40 Tudalen 18-21

Ymddangosodd popeth mor syml a phrydferth, 2009 Pîn, bwrdd ply, MDF, carden, deunyddiau model rheilffordd , cyfrwng cymysg Gosodwaith, 5 strwythr yn mesur 1700 x 600 x 600mm (arwyneb y gwaelod yn mesur 600m sgwâr, arwyneb y bwrdd yn 400mm sgwâr)

Meddwl am Adref (Tomasz Kacprzak), 2009 Print llaw math-C wedi'i osod ar alwminiwm Ffotograff, 30 x 40"

Tudalen 41

Meddwl am Adref (Urszula Szewczak), 2009 Print llaw math-C wedi'i osod ar alwminiwm Ffotograff, 30 x 40"

Tudalen 22-23

Arolwg, 2009 Pwynt sych ar bapur 285gms Fabriano Rosapina gwyn Casgliad o 22 (420 x 297mm yr un)

Tudalen 42

Meddwl am Adref (Filip Subotowicz), 2009 Print llaw math-C wedi'i osod ar alwminiwm Ffotograff, 30 x 40"

Tudalen 24-27

Troi, 2009 Creiriau wedi’u canfod Gosodwaith, maint yn amrywio

Tudalen 34-35

Hau, 2009 Fideo digidol 2-sianel Hyd, 8 munud

Tudalen 43

Meddwl am Adref (Aneta, Dawid a Pawel Drozd), 2009 Print llaw math-C wedi'i osod ar alwminiwm Ffotograff, 30 x 40"

WORKS LIST Page 1

As you are, 2009 Framed C-type print Photograph, 18 x 18â&#x20AC;?, 29 x 29â&#x20AC;? framed

Page 36-37

Hand Tools, 2009 (work in progress, plaster model for iron casting) Resulting work: Cast iron Sculpture, 8 items, 450 x 170 x 80mm each

Page 6-9

Movement (Bro Dyfriog), 2009 MDF, tensile wire, glass, cuckoo clock movement and attachments Installation, 4 items, 1000 x 450 x 350mm each

Page 10-11

Hand Tools, 2009 (work in progress, plaster model for iron casting) Resulting work: Cast iron Sculpture, 8 items, 450 x 170 x 80mm each

Page 38

Think of Home (Aneta Majka), 2009 Hand C-type print mounted on aluminium Photograph, 30 x 40"

Page 39

Think of Home (Arkadiusz Jablonski), 2009 Hand C-type print mounted on aluminium Photograph, 30 x 40"

Page 40 Page 18-21

Everything seemed so simple and beautiful, 2009 Pine, plywood, MDF, card, model railway materials, mixed media Installation, 5 structures measuring 1700 x 600 x 600mm (base taking an area of 600mm square, table area measuring 400mm square)

Think of Home (Tomasz Kacprzak), 2009 Hand C-type print mounted on aluminium Photograph, 30 x 40"

Page 41

Think of Home (Urszula Szewczak), 2009 Hand C-type print mounted on aluminium Photograph, 30 x 40"

Page 22-23

Survey, 2009 Drypoints on 285gms white Fabriano Rosapina paper Collection of 22 (420 x 297mm each)

Page 42

Think of Home (Filip Subotowicz), 2009 Hand C-type print mounted on aluminium Photograph, 30 x 40"

Page 24-27

Turn, 2009 Found objects Installation, dimensions variable

Page 34-35

Page 43

Think of Home (Aneta, Dawid & Pawel Drozd), 2009 Hand C-type print mounted on aluminium Photograph, 30 x 40"

Sow, 2009 2- channel digital video Duration, 8 minutes

CARWYN EVANS 1979 g. Caerfyrddin, Cymru, DU ADDYSG 1998-2001 Athrofa Prifysgol Cymru Caerdydd, BA Anrh. Celfyddyd Gain 1997-1998 Coleg Sir Gâr, Cwrs Sylfaen mewn Celf a Dylunio ARDDANGOSFEYDD SENGL 2009 Y bore hwnnw, gwyliodd y wawr yn torri, Oriel Davies, Y Drenewydd ARDDANGOSFEYDD GRWP DETHOL 2008 Gair o Gelf, Oriel Canfas, Caerdydd If You Build It, They Will Come, g39, Caerdydd Gwisgo Salem eto, Capel Salem, Llanbedr, ger Harlech (gwaith comisiwn safleymatebol gan Cwmni Da i nodi canmlwyddiant Salem, Curnow Vosper) 2007 Gair o Gelf, Glanfa, Canolfan Mileniwm Cymru The Suitcase Project: Copenhagen a Chaerdydd Y Lle Celf, Eisteddfod Genedlaethol Cymru, Wyddgrug Spoilio, Llywernog (Gosodwaith safle-benodol) Locws 3, Abertawe (Gosodwaith safle-benodol) 2006 Club Shepway Annual Seaside Review, B&B Project Space, Folkestone Dan Gochl, Oriel Davies Gallery, Y Drenewydd Arwyneb, Oriel Davies Gallery, Y Drenewydd Rhwng a Rhagddo, Kunstverein Baden Galerie, Baden, Awstria (Arddangosfa a chydweithrediad gyda Wanda Zyborska) 2005 On Leaving & Arriving, g39, Caerdydd Identidades a Dw^ r, Arddangosfa a Phrewswyliad, Morelia, Mecsico Yr Wyddor, Oriel Canfas, Caerdydd 2004 Brawdoliaeth, Llyfrgell Hwlffordd, Sir Benfro. Ar y Maes, Comisiwn Cywaith Cymru, Eisteddfod Genedlaethol Cymru, Casnewydd (Gosodwaith safle-benodol) 2003 Y Ffwrwm, Theatr Felinfach, Ceredigion Arddangosfa Celf a Chrefft, Eisteddfod Genedlaethol Cymru, Meifod Prosthetig, Stiwdios Rise, Caerdydd 2002 Ystyr y Tir, Canolfan Grefft Gorllewin Cymru, San Clêr, Sir Gâr Arddangosfa Celf a Chrefft, Eisteddfod Genedlaethol Cymru, Ty Ddewi ^ Ystyr y Tir, W yl Rhyng-Geltaidd L’Orient, Llydaw Art West, Llyfrgell Caerfyrddin 2001 Arddangosfa Celf a Chrefft, Eisteddfod Genedlaethol Cymru, Dinbych Sioe Radd, Ysgol Gelf Caerdydd 2000 Lansiad Cynllun Casglu, Cyngor Celfyddydau Cymru, Gerddi Botaneg Cymru, Llanarthne, Sir Gâr Arddangosfa Celf a Chrefft, Eisteddfod Genedlaethol Cymru, Llanelli 1999 Biennale Darlunio Cymru, Canolfan y Celfyddydau Aberystwyth, arddangosfa deithiol

2008 2007 2006 2003 2002 2001 2000

GWOBRAU A CHYSTADLAETHAU Grant Cynhyrchu, Cyngor Celfyddydau Cymru Gwobr Ifor Davies, Eisteddfod Genedlaethol Cymru Gwobr Teithio Celfyddydau Rhyngwladol Cymru ar gyfer Rhwng a Rhagddo Gwobr Ifor Davies, Eisteddfod Genedlaethol Cymru Gwobr Artist Ifanc, Artwest, Caerfyrddin Derbynydd Grant Artist Newydd, Cyngor Celfyddydau Cymru Ysgoloriaeth Artist Ifanc, Eisteddfod Genedlaethol Cymru

www.carwynevans.com

CARWYN EVANS 1979 b. Carmarthen, Wales, UK EDUCATION 1998-2001 University of Wales Institute, Cardiff, BA Hons. Fine Art 1997-1998 Coleg Sir Gâr, Foundation Studies in Art and Design SOLO EXHIBITIONS 2009 That morning he watched the dawn, Oriel Davies Gallery, Newtown SELECTED GROUP EXHIBITIONS 2008 Gair o Gelf, Oriel Canfas, Cardiff If You Build It, They Will Come, g39, Cardiff Gwisgo Salem eto, Salem Chapel, Llanbedr, nr. Harlech (a site responsive work commissioned by Cwmni Da to mark the centenary of Curnow Vosper’s Salem) 2007 Gair o Gelf, Glanfa, Wales Millenium Centre The Suitcase Project: Copenhagen & Cardiff Y Lle Celf, National Eisteddfod of Wales, Mold Spoilio, Llywernog (Site-specific installation) Locws 3, Swansea (Site-specific installation) 2006 Club Shepway Annual Seaside Review, B&B Project Space, Folkestone Undercover, Oriel Davies Gallery, Newtown. Surface, Oriel Davies Gallery, Newtown Without and Within, Kunstverein Baden Galerie, Baden, Austria (Exhibition and collaboration with Wanda Zyborska) 2005 On Leaving & Arriving, g39, Cardiff Identidades & Water, Exhibition & Residency, Morelia, Mexico Yr Wyddor, Oriel Canfas, Cardiff 2004 Brotherhood, Haverfordwest Library, Pembrokeshire Ar y Maes, Cywaith Cymru Commission, National Eisteddfod of Wales, Newport (Site-specific installation) 2003 Y Ffwrwm, Theatr Felinfach, Ceredigion Art and Crafts Exhibition, National Eisteddfod of Wales, Meifod Prosthetic, Rise Studios, Cardiff 2002 Ystyr y Tir, West Wales Craft Centre, St. Clears, Carmarthenshire Art and Crafts Exhibition, National Eisteddfod of Wales, St. Davids Ystyr y Tir, Festival Interceltique de L’Orient, Brittany Art West, Carmarthen Library 2001 Art and Crafts Exhibition, National Eisteddfod of Wales, Denbigh Fine Art Degree Show, Cardiff School of Art, Cardiff 2000 Collectorplan Launch, Arts Council of Wales, National Botanic Gardens of Wales, Llanarthne, Carmarthenshire Art and Crafts Exhibition, National Eisteddfod of Wales, Llanelli 1999 Wales Drawing Biennale, Aberystwyth Arts Centre, touring exhibition

2008 2007 2006 2003 2002 2001 2000

AWARDS AND COMPETITIONS Production Grant, Arts Council of Wales Ivor Davies Award, National Eisteddfod of Wales Wales Arts International Travel Award for Without and Within Ivor Davies Award, National Eisteddfod of Wales Young Artist Award, Artwest, Carmarthen New Visual Artist Grant recipient, Arts Council of Wales Young Artist Scholarship, National Eisteddfod of Wales

www.carwynevans.com

Y BORE HWNNW, GWYLIODD Y WAWR YN TORRI CARWYN EVANS THAT MORNING HE WATCHED THE DAWN Oriel Davies Gallery 21 02 2009 – 25 04 2009

Hoffai Oriel Davies Gallery ddiolch i’r unigolion a’r sefydliadau canlynol sydd wedi helpu i wireddu’r arddangosfa a’r catalog hwn: Alex Boyd; Neil Fowler; Llinos Jones; Helen Kozich; Clare Martin; Mike Parker; Henry Procter; Matthew Richardson; Louise Short; Mary Steele; Pete Telfer. Diolch arbennig i Carwyn Evans. Hoffai Carwyn Evans ddiolch i bawb a ddangosodd cefnogaeth yn ei ymarferiad artistig. Diolch hefyd i'r canlynol am bob cymorth gyda'r arddangosfa hon: ei rieni (Geraint a Margaret Evans) a'i deulu; Malcolm a Nona Davies; Margaret Thomas; Anthony Shapland; Robyn Tomos; Mike Parker; Louise Short; Iwan Bala; Gilly Adams; Lisa Heledd; Cipolwg ar Gymru; Anne Gibbs; CIRIC; Cyngor Celfyddydau Cymru; Oriel Davies Gallery. Diolch arbennig am anogaeth diddiwedd Lowri Davies. Dymuna Carwyn Evans ddiolch i Aneta Majka a holl cwsmeriaid Polski Sklep Llanybydder a gymerodd rhan yn 'Meddwl am Adref', yn eu plith: Aneta, Dawid a Pawel Drozd; Arkadiusz Jablonski; Tomasz Kacprzak; Aneta Majka; Filip Subotowicz; Urszula Szewczak. Carwyn Evans chcialby podziekowac Anecie Majka a takze wszystkim klientom Polskiego Sklepu w Llanybydder ktorzy brali udzial w sesji zdjeciowej ‘Pomysl o Domu’ a miedzy innymi: Anecie, Dawidowi i Pawlowi Drozd; Arkadiuszowi Jablonskiemu; Tomaszowi Kacprzakowi; Anecie Majka; Filipowi Subotowiczowi; Urszuli Szewczak. Traethodau gan Mike Parker a Louise Short Cyflwyniad gan Alex Boyd Golygwyd gan Carwyn Evans, Alex Boyd ac Amanda Farr Dyluniwyd gan Matthew Richardson Argraffwyd gan MWL. Argraffiad o 500 Ffotograffiaeth gan Carwyn Evans ISBN 978 1 870797 50 7 Cyhoeddwyd y Catalog gan Oriel Davies Gallery 2009 © Oriel Davies Gallery, yr artist, yr awduron. Atgynhyrchir y gwaith i gyd drwy gwrteisi’r artist. Cedwir pob hawl. Ni all unrhyw ran o’r cyhoeddiad hwn gael ei atgynhyrchu a’i storio mewn system caffael na’i drosglwyddo drwy unrhyw ddull, trydanol, mecanyddol neu fel arall, heb ofyn caniatád perchnogion yr hawlfraint a’r cyhoeddwyr yn gyntaf.

Oriel Davies Gallery would like to thank the following individuals and organisations who have helped with the realisation of this exhibition and catalogue: Alex Boyd; Neil Fowler; Llinos Jones; Helen Kozich; Clare Martin; Mike Parker; Henry Procter; Matthew Richardson; Louise Short; Mary Steele; Pete Telfer. Our greatest thanks are extended to Carwyn Evans. Carwyn Evans would like to thank all those who have shown support in his artistic practice.Thanks also to the following for their support with this exhibition: his parents (Geraint and Margaret Evans) and his family; Malcolm and Nona Davies; Margaret Thomas; Anthony Shapland; Robyn Tomos; Mike Parker; Louise Short; Iwan Bala; Gilly Adams; Lisa Heledd; Capture Wales; Anne Gibbs; CIRIC; Arts Council of Wales; Oriel Davies Gallery. Special thanks for Lowri Davies' never-ending encouragement. Carwyn Evans wishes to thank Aneta Majka and all the customers of the Polski Sklep in Llanybydder who took part in 'Think of Home', in their midst: Aneta, Dawid and Pawel Drozd; Arkadiusz Jablonski, Tomasz Kacprzak, Aneta Majka, Filip Subotowicz, Urszula Szewczak. Carwyn Evans chcialby podziekowac Anecie Majka a takze wszystkim klientom Polskiego Sklepu w Llanybydder ktorzy brali udzial w sesji zdjeciowej ‘Pomysl o Domu’ a miedzy innymi: Anecie, Dawidowi i Pawlowi Drozd; Arkadiuszowi Jablonskiemu; Tomaszowi Kacprzakowi; Anecie Majka; Filipowi Subotowiczowi; Urszuli Szewczak. Essays by Mike Parker and Louise Short Introduction by Alex Boyd Edited by Carwyn Evans, Alex Boyd and Amanda Farr Designed by Matthew Richardson Printed by MWL. Edition of 500 Photography by Carwyn Evans ISBN 978 1 870797 50 7 Catalogue published by Oriel Davies Gallery 2009 © Oriel Davies Gallery, the artist, the authors. All works are reproduced courtesy of the artist. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in form by any means, electrical, mechanical, or otherwise, without first seeking the permission of the copyright owners and the publisher.

Oriel Davies Gallery, The Park, Newtown, Powys SY16 2NZ Oriel Davies Gallery, Y Parc, Y Drenewydd, Powys SY16 2NZ T: + 44 (0) 1686 625041 F: + 44 (0) 1686 623633 E: enquiries@orieldavies.org W: www.orieldavies.org Supported by the Esmée Fairbairn Foundation and the Arts Council of Wales. Cefnogwyd gan Sefydliad Esmée Fairbairn a Chyngor Celfyddydau Cymru.