'Aildanio', Gwobr Gelfyddydau DAC 2022 / DAC Art Prize 2022

Aildanio

Delwedd y clawr gan / Cover image: Cerys Knighton, Crested Grebe.

Aildanio

Gwobr Gelfyddydau DAC 2022

DAC Art Prize 2022

g39, Caerdydd 18 Tachwedd—17 Rhagfyr

Amgueddfa Dyffryn Cynon, 7 Ionawr—11 Chwefror

Galeri, Caernarfon 3 Mawrth—8 Ebrill

Ty Pawb, Wrecsam 21 Ebrill—27 Mai

Oriel Davies, Trenewydd 9 Mehefin—9 Gorffennaf

Glynn Vivian, Abertawe 22 Gorffennaf—3 Medi

g39, Cardiff 18 November—17 December

Cynon Valley Museum, 7 January—11 February

Galeri, Caernarfon 3 March—8 April

Ty Pawb, Wrexham 21 April—27 May

Oriel Davies, Newtown 9 June—9 July

Glynn Vivian, Swansea 22 July—3 September

Artistiaid/Artists

Farah Allibhai

Lia Bean

Leila Bebb

Candice Black

Arty Jen-Jo

Deborah Dalton

Paddy Faulkner

Clarrie Flavell

Rebecca F Hardy

Emily-Jane Hillman

Jacqueline Janine Jones

Roz Moreton

Jo Munton

Ceridwen Powell

Gaia Redgrave

Tina Rogers

Menai Rowlands

Jordan Sallis

Booker Skelding

Bethany & Linda Sutton

Alana Tyson

Phillippa Walter

Sara Louise Wheeler

Julia Wilson

Mae Disability Arts Cymru yn falch o gyflwyno Gwobr Gelf DAC 2022, ‘Aildanio’, gan adeiladu ar lwyddiant y wobr gyntaf yn 2020 lle gwelwyd y gwaith ar-lein yn bennaf, oherwydd y pandemig. Roedden wrth ein boddau bod cymaint o artistiaid wedi mynd ymlaen

i ennill gwaith ychwanegol drwy breswyliadau, arwain gweithdai a chomisiynau. Mae’n dystiolaeth bod y cyfleoedd hyn yn cyflwyno agoriadau ychwanegol

i adeiladu gyrfaoedd i artistiaid anabl wedi sydd eu lleoli yng Nghymru.

Cododd Gwobr Gelf DAC 2022 y bar yn llawer uwch nag oedden ni wedi rhagweld, fel yr adlewyrchwyd yn y ceisiadau, gan ddangos gwirionedd, dyfeisgarwch, syndod ac ansawdd.

Diolchwn i bawb a gyflwynodd waith, oherwydd roedd hi’n dasg anodd i’r panel dethol.

Serch hynny, maent wedi dethol gwaith sy’n effeithio’r gwyliwr ac ‘dyn ni’n hynod falch o’r alwad eleni i archwilio’r sbardun creadigol, ac –yn arbennig – sut mae hyn yn cael ei ail-danio dro ar ôl tro i’r artist. Nodwedd ychwanegol o’r arddangosfa hon oedd y cyfle i gefnogi 6 artist addawol gyda mentora a chronfeydd ariannol i greu gwaith ar gyfer yr arddangosfa, a gobeithiwn y byddant yn parhau i ddatblygu ymarferion cyffrous yn y blynyddoedd i ddod.

Diweddwn wrth ddiolch i Alan Whitfield a Gail Howard am eu gwaith caled i ddod â’r

arddangosfa gyffrous hon ynghyd. Rydym wedi’n syfrdanu gyda’u sgiliau a’u gallu i gynhyrchu

arddangosfa sydd llawn cyffro, yn heriol ac yn hygyrch. Diolchwn hefyd i Fran Ledonio-Flaherty, Mike Laywood a derbynnydd Gwobr Gelf DAC 2020, Roy Barry, am eu trafodaethau yn y barnu terfynol, a Chyngor Celfyddydau Cymru am ariannu.

Yn olaf, diolch i’r chwe oriel letyol, g39, Amgueddfa

Cwm Cynon, Galeri Caernarfon, Oriel Davies, Tŷ Pawb a Glynn Vivian.

Llongyfarchiadau i bob artist sy’n arddangos

a phawb sy’n ymwneud â chynhyrchu’r sioe, gobeithiwn y byddwch yn mwynhau Gwobr

Gelf DAC 2022 ‘Aildanio’.

Ruth Fabby MBE, DL, CF

Cyfarwyddwr

Celfddydau Anabledd Cymru

Tachwedd 2022

Disability Arts Cymru is delighted to present the 2022 DAC Arts Prize, ‘Aildanio’, building on the success of the first years prize in 2020, when the work was mainly viewed online due to the pandemic. We were thrilled that many artists went on to gain extra work through residencies, leading workshops and commissions. It demonstrated that these opportunities bring additional openings to build the careers for Wales based disabled artists.

The 2022 DAC Arts Prize raised the bar far higher than we were anticipating as reflected in the submissions, showing truth, ingenuity, surprises and quality. We thank everyone who submitted work as it was a tough call for the selecting panel.

However, they have chosen work that impacts the viewer and we are extremely proud of this years call to examine the creative spark, and – in particular – how this is reignited time and again for the artist. An additional feature of this exhibition has been the chance to support 6 emerging artists with mentoring, plus funds to create work for the exhibition, and we hope they will continue to develop exciting practices in the years to come.

We end with thanking Alan Whitfield and Gail Howard for their hard work in bringing this exciting exhibition together. We are in awe of their skills and abilities in producing an exhibition that is exciting, challenging and accessible. We also thank Fran Ledonio-Flaherty,

Mike Laywood and the 2020 DAC Art Prize recipient, Roy Barry, for their deliberations in the final judging, and Arts Council of Wales for their funding. Lastly, thank you to the six host galleries, g39, Cynon Valley Museum, Galeri Caernarfon, Oriel Davies,Tŷ Pawb and Glynn Vivian.

Congratulations to all the exhibiting artists and all involved in producing the show, we hope you enjoy the 2022 DAC Art Prize ‘Aildanio’.

Ruth Fabby MBE, DL, CF Director

Disability Arts Cymru

November

2022

Edrych y Ffordd Arall

Gofod dan arweiniad artistiaid yw g39. Wrth i DAC

gyrraedd ei 40fed flwyddyn, ‘dyn ni’n cyrraedd ein

25ain – tîm bach o artistiaid ymroddgar.

Mae’r drwm mae g39 dal i guro, yn gofyn: Oes yna sin gelf yng Nghymru sydd ar wahân a gwahanol, sut beth ydyw? Ar gyfer pwy mae o a phwy yw’r

porthorion? Ar y dechrau roedden ni’n naïf, fel

petai ni oedd y cyntaf i ofyn.

‘Dyn ni’n falch o fod wedi gweithio ochr yn ochr â

DAC dros y blynyddoedd hynny – y dyddiau cynnar

gyda Maggie; y blynyddoedd diwethaf gydag egni

anhygoel Ruth. Mae’r deialog ehangach hwn wedi

dangos i ni’r rhwystrau a gosodwyd gan y byd celf

a’n galluogi i siarad am newidiadau sydd angen

digwydd (dal i fod!) – drwy weithred, perswâd, rhesymeg, lobïo a gwthio’n ôl.

Weithiau, ‘dyn ni’n cael pethau yn anghywir, sydd, gobeithiwn – yn golygu ein bod ni weithiau yn cael pethau’n gywir.

Anthony Shapland

Cyfarwyddwr Creadigol

g39

Tachwedd 2022

Wrth symud o’n hagwedd hunan ganolog o’r byd ‘dyn ni’n dechrau deall gwahanol feddyliau, sgiliau, syniadau newydd. Mae ein dealltwriaeth o’r byd yn gogwyddo/gwyro ac yn troi. ‘Dyn ni’n byw mewn safle arall, lle nad yw’n eiddo i ni, unigol – ond sydd yn eiddo i ni, lluosog.

Mae gweithio gyda DAC, a chwarae ein rhan fach i gyflwyno Aildanio i chi wedi dysgu g39 i edrych ar bethau’n wahanol – i edrych y ffordd arall.

Look the Other Way

g39 is an artist-led space. As DAC reaches its 40th year, we reach our 25th – small team of committed artists.

The drum g39 keeps banging, asks: If there is an arts scene in Wales that is separate and distinct, what does it look like? Who is it for and who are the gatekeepers? At the start we were naive, as if we were the first to ask.

We’re pleased to have worked alongside DAC over those years – early days with Maggie; the last few years with the amazing energy of Ruth. This longer dialogue has shown us the barriers put in place by the artworld and allowed us to talk about changes that need to happen (still!) – through action, persuasion, logic, lobbying and pushing back.

Sometimes we get things wrong, which, we hope –means that sometimes we get things right.

Moving from our own ego centred view of the world we begin to understand different thoughts, skills, new ideas. Our understanding of the world tilts and tips. We inhabit another position, a place that is not ours, singular – but ours, plural.

Anthony Shapland Creative Director g39

November 2022

Working with DAC, and playing our small part in bringing you Aildanio, has taught g39 to see things differently – to look the other way.

Farah Allibhai

What would you say to the love that you are?

(From Me to Me)

“..Fe ddes i o hyd i fy anadl wedi’i gyfyngu a’m calon ar gau. Gan ddechrau eto, y tro hwn

dywedodd fy sat nav mewnol wrtha i am edrych i mewn, i ganolbwyntio ar fy anadl, dysgu anadlu’n rhydd, ehangu fy nghalon, ymddiried a gwrando ar yr hyn sydd ar y tu mewn. Y fideo yma yw fy Aildanio, gan ddefnyddio fy anadl a chaniatáu

i’m calon ehangu, mae fflam yn tanio gan

oleuo fy llwybr a fy symud ymlaen mewn ffyrdd

mwy gofalgar a chariadus. Mae’r fideo yma yn

wahoddiad i ti wneud yr un peth a chwestiynu

beth yw ystyr hunan gariad i ti.”

Ganwyd Farah Allibhai yn Uganda, ond mae’r

Mwslim Gujarati Shia Ismaili wedi byw yng

Nghaerdydd am ran helaeth ei bywyd. Mae hynny’n rhoi persbectif diwylliannol rhyngwladol unigryw

iddi a lens rhyngblethol sy’n llywio ei gwaith a’i

thaith bywyd.

Fel artist amlddisgyblaeth, mae ei gwaith yn

canolbwyntio ar y broses o hunan-ddarganfod, hunan-sylweddoli, hunan-adnewyddu ac iacháu’r hunan-fewnol. Gan dynnu ar ei phrofiad bywyd, caiff ei hysbrydoli gan amrywiaeth, y metaffisegol a’r ysbrydol, i ymchwilio i ffyrdd o fod. Mae ei gwaith yn arsylwadol, yn berfformiadol ac yn benodol i safle.

‘…..I found my breath restricted and my heart closed. Starting again, this time my internal sat nav told me to look inward, to focus on my breath, learn to breathe freely, expand my heart, trust and listen to what’s inside. This video is my Aildanio, using my breath and allowing my heart to expand, a flame ignites lighting my path moving me forward in more caring and loving ways. This video is an invitation for you to do the same and question what self love is for you.’

Farah Allibhai is a Ugandan born, Gujarati Shia Ismaili Muslim who has lived in Cardiff most of her life. This gives her a unique international cultural perspective and intersectional lens which informs her work and life’s journey.

As a multi-disciplinary artist, her work centres around the process of self-discovery, self-realisation, self-actualisation and healing the inner self.

Drawing on her lived experience, inspired by diversity, the metaphysical and the spiritual, she investigates ways of being. Her work is observational, performative and site specific.

Lia Bean

Gwobr Gelfyddyd Ar

Gyfer Artistiaid Newydd

Emerging Artists Prize

Dreamer

Rwy’n artist ifanc sy’n byw yng ngorllewin Cymru

ac sy’n hoffi archwilio gwahanol fathau o gyfryngau,

o decstilau a phaent i gelf ddigidol. O ddechrau fy

ymarfer celf, rwyf bob amser wedi cael fy nhynnu

tuag at bortreadau a ffigurau. Mae rhywbeth hynod

o ran faint y gellir ei ddweud ai peidio am yr hunan.

O ganlyniad i’r cyfyngiadau symud, rydym ni i

gyd wedi treulio llawer mwy o amser ar ein pennau

ein hunain, ac fe wnes i feddwl am sut y gwnes

i barhau i weld pobl greadigol yn gwneud celf.

O #isolationcreation ar Instagram i Grayson’s Art Club, roedd yn arbennig gweld pobl yn creu ar eu

pennau eu hunain, yng nghanol holl anhrefn y byd.

Ysbrydolodd y thema ‘Aildanio’ i fi beintio ffigwr yn

mynegi cryfder y creadigrwydd y tu fewn i’r hunan.

Sut mae’n gallu effeithio ar y gofod o’n cwmpas ac ysgogi newid cadarnhaol. Yn ogystal, roeddwn i eisiau defnyddio llawer o liwiau llachar i gynrychioli’r holl syniadau sydd y tu fewn i ni.

Mae’r pen yn agor, gan ledaenu meddyliau creadigol a syniadau i’r ardal gyfagos mewn lliwiau llachar. Mae’r lliwiau hyn yn cymysgu ac yn diferu mewn anhrefn strwythuredig, sy’n debyg i’r ffordd rydw i’n mynd ati i greu celf. Mae’r llygaid, sy’n bolio o’r penglog, yn cyfleu ein meddyliau creadigol a’n syniadau yn cael eu troi yn ddarn o gelf.

I am a young artist based in West Wales who likes to explore all different kinds of media, from textiles and paints to digital art. From the beginning of my art practice, I have always been drawn towards portraits and figures. There is something particular in how much can be said or not said about the self.

As a consequence of lockdown, we have all spent much more time alone and I thought about how I continued to see creatives make art. From #isolationcreation on Instagram to Grayson’s Art Club. It was remarkable to see people creating alone amongst all the chaos in the world.

For the theme of ‘Aildanio’ I was inspired to paint a figure expressing the strength of creativity inside of the self. How it can affect the space around us and make positive change. I also wanted to use lots of vibrant colours to represent all of the ideas inside of us.

The head opens up, branching its creative thoughts and ideas into the surrounding area in bright vivid colours. These colours mix and drip together in a structured chaos, quite like my own art practice. The eyes reaching out of the head, convey our creative thoughts and ideas being visualised into a piece of art.

Leila Bebb Spindle

Cerflun wedi’i wau yw Spindle. Mae wedi’i wneud gan ddefnyddio edafedd o wahanol liwiau, gweadau a thrwch i greu darn cyffyrddol sy’n dynwared symudiad gwaell.

Yn ystod y cyfnod clo, roedd fy ngofod a’r deunyddiau y gallwn eu defnyddio yn gyfyngedig.

Dechreuais wau. Helpodd hynny i mi ymlacio, ond cyn hir darganfyddais dechnegau newydd a’m galluogodd i wneud darnau haniaethol wedi’u

gwau gan ddefnyddio gwahanol edafedd. Pan

ddaeth y cyfnod clo i ben, fe wnes i rentu fy stiwdio a newidiodd a thyfodd fy ngwaith. Daeth yn fwy

beiddgar ac yn fwy lliwgar ac roedd yn ymddangos bod pobl yn ei hoffi. Dechreuais gael mwy o

lwyddiant wrth arddangos mewn orielau, ochr yn ochr ag artistiaid proffesiynol nad ydynt yn anabl.

Cafodd fy angerdd dros wneud celf ei aildanio a nawr rydw i’n ymwneud â phob math o brosiectau a fydd yn caniatáu i fwy o bobl ddod i adnabod fy ngwaith. O’r diwedd, rydw i’n dechrau cael fy nghydnabod fel artist a gweithiwr proffesiynol.

Spindle is a knitted sculpture. It has been made using yarns of different colours, textures and thicknesses to create a tactile piece that imitates the movement of a spindle.

During lockdown my space and the materials I could use were limited. I started to knit. I found it restful but I soon discovered new techniques that enabled me to make abstract knitted pieces using different yarns. When lockdown ended, I rented my studio and my work changed and grew. It became bolder and more colorful and people seemed to like it. I began to have more success in exhibiting in galleries alongside non-disabled professional artists. My passion for making art was re-ignited and now I am involved in all sorts of projects that will allow more people to get to know my work. At last, I am beginning to be recognised as an artist and a professional.

Candice Black

Darlun wedi’i baentio yw Burning Inside sy’n

mynegi’r angerdd a’r chwant i greu, hyd yn oed

pan rydw i, fel artist, yn ei chael hi’n anodd

gwneud hynny. Mae’r weithred o beintio ar gynfas wedi’i hysbrydoli gan syniad sy’n ffurfio

trwy arbrofi, ac y gellir ei fwynhau fel y weithred o gipio emosiwn. Mae archwilio i baentio yn golygu

rhoi cynnig ar wahanol brosesau a syniadau, a

thros amser mae’r creadigrwydd hwn yn symud

i gyfeiriad sy’n datblygu’n fwy o waith celf.

Gall fod yn anodd symud drwy anallu creadigol.

Mae fy hwyl yn agwedd bwysig o pam rydw i’n

creu. Mae emosiynau’n codi o hwyliau sy’n gyrru

fy nghelf, ac er bod y lliw coch sylfaenol yn arwydd

o naws gynnes, gall hynny hefyd ddatblygu i fod yn ffyrnigrwydd. Wrth eistedd, mae’r corff yn llonydd er ei fod yn llosgi ar y tu mewn, gan ystyried sut i ddefnyddio’r egni hwn. Mae’r hwyl wefredig yn creu momentwm, a darganfyddaf allfa wrth frwsio’r paent ar gynfas. Gellir cynorthwyo iechyd meddwl trwy greadigrwydd, ac mae hefyd yn llywio’r gwaith celf ei hun.

‘Burning Inside’ is a painting expressing the desire and passion to create, even when as an artist I find it difficult. The action of painting on canvas is inspired by an idea that forms through experimentation and can be enjoyed as the capture of emotion. Exploring painting means trying different processes and ideas out, andover time this creativity moves in a direction that develops into more artwork. A creative block may prove difficult to move through. Mood is an important aspect of why I create. Emotions arise form moods that drive my art, and the primary colour of red signifies a warm mood but that can also build up into rage. From a sitting position, the body is still whilst burning inside, contemplating how to use this energy. The charged mood creates momentum and an outlet is found brushing the paint onto canvas. Mental health can be assisted through creativity, and also informs the artwork itself.

Arty Jen-Jo

Emerging From The Raging Seas

Ad Eng

Ad Cym Eng

Ffilm Cym

Crëwyd y fideo hwn yn ein gardd gefn ar y glaswellt i ddangos i bobl y gallaf symud fy nghorff yn rhydd, er fy mod allan o fy nghadair olwyn. Rwy’n credu ei fod yn rhoi ymdeimlad o danio ac ailddechrau

oherwydd, ers Covid-19, rwyf wedi darganfod y gallaf wneud mwy o bethau trwy ddefnyddio fideo, yn ogystal â chamera. Ar ben hynny, mae wedi

rhoi mwy o hyder i mi weithio gyda ffilm. Dyma

pam roeddwn i’n meddwl y byddwn i’n gwneud

rhywbeth gwahanol eleni.

The video is created in our back garden on our grass to show people I can move my body just as freely being out of my wheelchair. I think it gives a sense of ignite and resume because since Covid-19 I have found out that I can do more things via using a video as well as a camera. Also, it has given me more confidence to work with film. This is why I thought I would do something different this year.

Deborah Dalton

Mae fy moment Aildanio yn dal i esblygu, a dechreuodd pan es i am dro ar ochr mynydd

oedd â golygfa anhygoel o’r lle rydw i’n byw, cerdded a darlunio. Mae Green Lane, Abermule yn ddarn stiwdio graddfa fawr sy’n seiliedig ar ddarluniau a ffotograffau du a gwyn. Rwy’n defnyddio proses debyg i fy nhrefniant mynediad ar gyfer darllen ac ysgrifennu. Darlun mawr o gefndir arlliwedig i gynorthwyo adnabyddiaeth a cheisio deall canfyddiadau.

My Aildanio moment is still evolving, and began when I recently found a walk on a hillside with a Birdseye view of where I live, walk and draw. Green Lane, Abermule is a large scale studio work based on drawings and black and white photography. Using a process similar to my access arrangement for reading and writing. An enlarged drawing on toned background to assist recognition and try to understand perceptions.

Paddy Faulkner

Helen & Sadie and their Winking Dog

Ad Cym

Ad Eng

Ffilm/Film

Wrth chwilio trwy fy archifau lluniau am unrhyw beth a anwybyddwyd/anghofiwyd yn y gorffennol, cefais gyfle amhrisiadwy i ailddarganfod ac ailgynnau fy niddordeb mewn delweddau a gymerais ymhell cyn i mi astudio ffotograffiaeth yn

2007. Mae’r ddelwedd o ddwy chwaer, Helen a Sadie, yr oeddwn yn arfer ymweld â nhw fel rhan o brosiect gwasanaethau cymdeithasol yn ystod fy astudiaethau Safon Uwch ym 1978. Mae Helen (ar y chwith) mewn cadair olwyn ar ôl i’w choes gael ei dorri i ffwrdd uwch ben y ben-glin. Nid ydw i’n gwybod pam; ni ofynnais iddi. Pan gafodd y ffotograff ei dynnu, byddai Helen wedi cael ei disgrifio fel ‘unigolyn sy’n gaeth i’r tˆy’. Dim ond un llygad sydd gan y ci ar y dde. Collodd y ci ar

waelod ochr chwith y ffotograff, gyda’r llygaid melyn (a achoswyd gan adlewyrchiad fflach y camera ar retina’r ci), goes ôl mewn damwain ffordd. Roedd y chwiorydd bob amser yn siriol pan oeddwn yn

ymweld â nhw, a bob amser yn gwneud te i fi mewn cwpan tsieni. Ystyriais y thema yn gyntaf, gan ddymuno anfarwoli’r ddwy chwaer siriol. Yn ail, cofiais am rywbeth a ddywedodd fy hen diwtor ffotograffiaeth wrth y dosbarth am arddangosfeydd: “..mae pobl yn cael cip sydyn ar luniau mewn orielau. Os allwch chi fynnu sylw’r gwyliwr a gwneud iddo oedi i edrych ar eich delwedd am 30 eiliad, byddwch wedi llwyddo.”

Dyma’r ffordd rydw i wedi ail-ddychmygu’r gwaith

mewn ymdrech i ymgysylltu â’r gwyliwr.

The Aildanio theme provided an opportunity to re-discover & re-ignite my interest in images I took long before I got to study photography in 2007. This image is of two sisters, who I used to visit as part of a social service project during my A’ Level studies in 1978. Helen, (on the left) is in a wheelchair and has had a leg amputated above the knee, she would have been described at the time the picture was taken, as being ‘housebound’. The dog on the right has one eye missing: the dog at the bottom left with the yellow eyes (caused by the reflection of the camera flash on the dog’s retina) lost a hind leg in a road accident. The sisters were always cheerful when I visited and though the house was chaotic in appearance, they always made me tea in a china cup.

Revisiting this image I remembered something my old photography tutor said to the class about exhibitions:

“

...people browse along the pictures in a gallery fairly quickly: if you can capture the attention of the viewer to stop and look at your image for 30 seconds you will have succeeded”

This is my reimagining of the work to engage the viewer.

Clarrie Flavell

Lighting the Roman Fires

Rwy’n byw ymhlith y bryniau i’r de o Abergele, ar ffordd Rufeinig. Ychydig y tu ôl i’r tˆy mae

caeau sy’n cynnwys y mwyngloddiau plwm

lle buont yn cloddio am fwynau ar un adeg.

Bu’r Rhufeiniaid yn cloddio sawl metel ym

Mhrydain, gan chwalu rhannau o’r hyn a fu unwaith yn dir pori. Wedi’i wasgaru ar draws nifer o fryniau

lleol mae tystiolaeth o siafftiau mwyngloddio

diflanedig, sydd i’w gweld yn awr ar fapiau OS yn unig – tra bod y caeau eu hunain wedi adfer ers amser maith.

Maent wedi dychwelyd i dir pori cyfoethog, yn frith o flodau dolydd bregus sy’n dawnsio yn y gwynt cyn cael eu claddu yn y cnwd gwair, i fwydo gwartheg y gaeaf nesaf. Mae’r ffeuen hon yn symbol o’r bywyd gohiriedig hwn, ac yndal addewid o dwf eto i ddod.

Mae delweddau a gloddiwyd o’r blodau gwyllt wedi’u hargraffu ar wyneb y ffeuen. Fe’i gwnaed o blwm cast dros dân agored yn fy ngardd, gyda dwy siafft fwyngloddio a gynhyrchai’r un mwyn yr holl ganrifoedd yn ôl yn edrych drosto.

I live amongst the hills south of Abergele, on a Roman road. Just behind the house are fields that contain the lead mines where they once extracted ore.

The Romans mined several metals in Britain, laying waste to swathes of what had been once pastureland.

Peppered across a swathe of local hills are evidences of vanished mineshafts, visible now only upon OS maps – the fields themselves having recovered long since.

They’ve returned to rich rolling pasture, dotted with fragile meadow flowers that dance briefly in the wind before being entombed in the hay crop, to feed next winter’s cattle.

This bean is a symbol of this suspended life, holding it’s promise of growth yet to come, and imprinted upon its surface are the excavated imagery of the wild flowers.

It was made from cast lead over an open fire in my garden, over looked by two mineshafts that yielded the same ore, all those centuries ago.

Rebecca F Hardy

Mae Rebecca yn artist amlddisgyblaethol ac mae ei gwaith yn ymwneud â diddordeb hirfaith

mewn catalogio arteffactau, symudiadau

ailadroddus, a chynildeb gwrthrychau.

O ddarluniau i brintiau sgrin, ffotograffiaeth, fideo, celf fyw, ffurfiau cerfluniol a gosodiadau.

Mae archwilio defnyddiau a pherthnasoedd rhwng

arwyneb a gwrthrych, lliw, haenau a phatrymau yn gyrru’r broses. Yn gymharol, mae’r gwaith celf yn ymwneud ag ymddygiad y natur ddynol, y reddf i berfformio’n ymwybodol ac yn isymwybodol a chymhlethdod emosiynau ar yr unigolyn. Mae ymchwil, archwilio a defnyddio anatomeg ddynol, gwrthrychau domestig ac, o bryd i’w gilydd, ei chyflwr meddwl ei hun wedi’u gwreiddio yn y gwaith. Mae ei cherfluniau a’i gosodiadau yn gweithredu fel llestri a throsiadau, ac maent yn

cydfodoli ag amrywiaeth o ddeunyddiau a’r gofody maen nhw’n rhan ohonynt dros dro.

Mae ‘Aildanio’ yn waith newydd ar gyfer y Wobr

Gelf. Mae’r cydbwysedd, neu’r diffyg cydbwysedd, sy’n effeithio ar bawb yn frwydr barhaus i Rebeca.

Mae ‘Aildanio’ yn asio gweithiau celf 2D a 3D, gan ddefnyddio patrymau a siapiau o’i darluniau a chynlluniau o ffurfiau symlach ar anatomeg a chelloedd, i ymateb i’r gofod a’i chyflwr meddwl presennol amserol.

Rebecca is a multi-disciplined artist; her work is the prolonged fascination with cataloguing artefacts, repetitive movements, and the subtlety of objects. From drawings to screen-prints, photography, video, live-art, sculptural forms and installations. Exploration of materials and relationships between surface and object, colour, layers, and patterns drives the process. Relatively the artwork relates to the conduct of human nature, its behaviour to perform consciously and subconsciously and the complexity of emotions upon the individual.

Research, exploration and use of human anatomy, domestic objects and every so often her own fluttering state of mind are embedded in the work. Making her sculptures and installations act as vessels and metaphors and co-exist with an array of materials and the space it temporarily consists in.

‘Aildanio’ is a new body of work for the Art Prize. The balance or lack of balance we find ourselves in is a constant battle for Rebecca. ‘Aildanio’ is the fusing of 2D and 3D artworks, using patterns and shapes from her drawings and designs of simplified forms of anatomy and cells. Reacting to the space given and her temporal current state of mind.

Emily-Jane Hillman

Health Warning: Only Revisit the Past Through Art

Ad Eng

Ad Cym

Gwobr Gelfyddyd Ar

Gyfer Artistiaid Newydd

Emerging Artists Prize

1. What on Earth has Happened to my Uterus?

2. Meltdown

3. Under My Skin

Yn fy ymarfer, rwy’n ymddiddori yn y corff

benywaidd – arwyneb y corff a’r dyfnder emosiynol

cudd sydd wedi’i orchuddio neu heb i neb ei weld.

Roedd 2018 yn flwyddyn o farwolaeth i fywyd i mi. Y flwyddyn honno, roeddwn wedi cael nifer o lawdriniaethau mawr oherwydd canser yr ofari, roeddwn hefyd yn ail-fyw trawma plentyndod

trwy achos llys teulu, a arweiniodd at chwalfa ac a oedd yn golygu bod angen meddyginiaeth arnaf.

Dechreuais wneud cerfluniau mawr o bren yn

darlunio merched sydd wedi goresgyn rhwystrau

difrifol, a rhoddodd hynny’r ysgogiad i mi archwilio

beth oedd yn digwydd o dan wyneb fy nghorff

fy hun ac yng nghilfachau fy meddwl. Fe wnaeth y broses o archwilio’r gweithiau newydd hyn, a

chymryd rheolaeth o’m naratif fy hun, fy helpu i

oresgyn y trawma corfforol, meddyliol ac emosiynol yr oeddwn yn ei brofi. Rydw i wedi gallu integreiddio agweddau o fy hunaniaeth yr wyf wedi cael trafferth

â nhw yn fy ngwaith: goroesi cam-drin a thrawma;

goroesi canser; colli chwe baban oherwydd camesgoriad. Rwyf wedi ymateb i’r thema ‘Aildanio’ trwy ddangos y broses o aileniyr es i drwyddi yn

2018 a sut y gwnes i ail-lunio’r profiadau hynny o drawma meddyliol (1), corfforol (2) ac emosiynol

(3) yn gelf.

In my practice I am preoccupied with the female body – the surface of the body and the hidden emotional depths that are covered or unseen. 2018 was a year of death to life for me. That year I had undergone a number of major surgeries due to ovarian cancer, I was also re-experiencing childhood trauma through a family court case, which precipitated a breakdown and necessitated medication. I began to make big sculptural works on wood depicting women who have overcome great odds and gave me the impetus to explore what was going on beneath the surface of my own body and within the recesses of my own mind. The process of exploring these new works and taking control of my own narrative, helped me overcome the physical, mental and emotional trauma that I was experiencing. I have been able to integrate the facets of my identity I have struggled with: abuse and trauma survivor; surviving cancer; the loss of six pregnancies to miscarriage. I have responded to the aldiano theme by showing the process of rebirth I went through in 2018 and how I refashioned these experiences of mental (1), physical (2) and emotional (3) trauma into art.

Jacqueline Janine Jones

Ad Eng

Ad Cym

Mae The Woman Who Lights Her Fire is Free yn dangos sut mae un fenyw yn dymuno ymgodi, ond mae yna gawell o amgylch ei meddwl. Mae’r llall yn rhydd, ac wedi canfod ei sbarc. Mae’r tân yn denu sylw’r fenyw yn y gawell ac mae hi’n ei weld fel grym iachaol.

The Woman Who Lights Her Fire is Free depicts how one woman wishes to ascend but the cage is around her mind. The other is free, having found the spark. The caged woman is drawn to the fire. She seeks out its healing force.

Cerys Knighton

Yn ôl darn diweddar o adborth gan ymwelwyr

arddangosfa, mae fy ngweithiau celf yn “ormod”

o ran archwilio fy mhrofiadau o anhwylder

deubegynol. Roedd yr ymadrodd penodol hwn

yn ddiddorol i mi oherwydd y ffordd y mae

deubegynedd yn aml yn cael ei ystyried fel cyflwyniadau o ormodedd – gormod o emosiwn, gormod o egni mewn ymddygiad. Mae’r farn

gymdeithasol hon yn aml yn gwneud i mi deimlo

bod angen i mi fonitro a meddalu’r ffordd rydw i’n

ymateb a dangos emosiwn o gwmpas eraill – dim crio, dim dathlu gormod, dim chwerthin yn rhy uchel, a pheidio codi fy llais o gwbl. Roedd yr adborth

hwnnw’n atseinio yn fy mhen wrth i mi weithio, ac

roeddwn yn rhwystredig ei fod yn gwneud i mi fod

eisiau meddalu fy ngwaith celf oherwydd bod fy

ymarfer wedi dod yn bwysig i mi fel ffordd o fynegi

emosiwn. Datgelodd fy ymchwil PhD i gysyniadaeth

hanesyddol deubegynedd fod y cyflwr yn cael ei

nodweddu naill ai gan ddigonedd neu ddiffyg egni

mewn cyflyrau hwyliau uchel ac isel. Gwnaeth

ymchwilio i hyn i mi feddwl sut rydw i’n defnyddio fy

ymarfer celf i lywio fy newidiadau eithafol fy hun o ran

egni – o ffordd i sianelu’r “gormodedd” trwy fynegiant

creadigol, i ffordd o ailgynnau teimlad yng nghanol

absenoldeb mewn cyflyrau o iselder. Mae’r darnau

hyn yn myfyrio ar y cyflwr hwnnw o geisio ailgynnau

egni ac ailddarganfod tân creadigol trwy weadau

cyferbyniol pwyntiliaeth inc a phensil, a thrwy chwilio am eiliadau o gynnau tân mewn gwahanol gyrff.

A recent piece of exhibition visitor feedback was that my artworks were “too much” in terms of exploring my experiences of bipolar disorder. I found this specific phrase interesting because of the way bipolarity is often conceived as presentations of too much – too much emotion, too much energy in behaviour. This social view often makes me feel like I need to monitor and tone down the way I react and show emotion around others – don’t cry, don’t celebrate too much, don’t laugh too loud, and don’t ever raise your voice. That feedback kept coming back to me as I was working, and I was frustrated that it was making me want to tone down my artwork because my practice had become important to me as a way to express emotion. My PhD research into the historic conceptualisation of bipolarity revealed its characterisation by either an abundance or absence of energy in high and low mood states. Researching this made me think about how I use my art practice to navigate my own extreme shifts in energy – from a way to channel the “too much” through creative expression, to a way to reignite sensation amid an absence in states of depression. These pieces reflect on that state of seeking to reignite energy and rediscover creative fire by contrasting textures of ink pointillism and pencil, and by looking for moments of fire igniting in different bodies.

Ruben Lorca

Maen nhw’n gorwedd i mi. Maen nhw’n symud ar bob chwinciad. Gwyddant am fyrhoedledd

pob eiliad. A fi hefyd. Mewn amrant, mae’r golau’n newid. Does dim ots gen i.

“Rhaid i chi weithredu’n brydlon, neu mae popeth yn dechrau diflannu,” meddai Cézanne.

Mae ‘Aildanio’ yn myfyrio ar freuder bywyd. Mae un diwrnod yn dod i ben, cyn i ni gael ein haileni ar y diwrnod canlynol. Gallwn ailddyfeisio ein hunain.

Ennill eiliad ar y cloc. Tra byddwn ni byw, rydym ni’n marw.

Yn “Portraits Before Death”, mae darnau dynol: llygaid, clustiau, silwetau... nid yw nodweddion

unrhyw un o ‘breswylwyr’ y gwaith hwn yn gyflawn; yn dirywio, yn anffurfio ac yn pylu dros amser.

Mae’r ffordd honno o gynrychioli’r ffigwr dynol yn

anghyflawn yn adlewyrchiad o’m profiad fy hun pan

gollais un o fy nghoesau mewn damwain ffordd pan

oeddwn yn 17 oed. Rwyf bob amser wedi meddwl

mai’r ffordd i adrodd fy stori oedd mewn ffordd

gudd, ac mae hynny wedi fy helpu i ddeall pam

mae “preswylwyr” fy ngwaith yn fodau anghyflawn.

Un llygad, un trwyn, dim ceg. Nid oes angen ceg

arnoch i siarad. Maen nhw’n teimlo’n amherffaith, yn anorffenedig. Maen nhw’n ceisio cydymffurfiad

yn y gwyliwr. Edrychwch ar y byd am eiliad trwy

lygaid nad ydynt yn perthyn i chi.

They pose for me. They move at every blink. They know of the transience of each moment. Me too. In a split second, the light changes. I don’t mind.

“You have to act promptly, or everything begins to disappear” said Cézanne.

‘Aildanio’ is reflecting on the fragility of life. We end one day and reborn the next. Reinvent yourself. Win a second on the clock. While we live, we are dying.

In “Portraits before Death” there are human fragments: eyes, ears, silhouettes... None of the “inhabitants” of these works has their features intact, they are deteriorating, deformed and fading over time.

That way of representing incompletely the human figure is a reflection of my own experience when I lost one of my legs in a traffic accident when I was 17. I have always thought that it is the way to tell my story in a veiled way and I have understood that this is why the “inhabitants” of my works are incomplete beings. One eye, one nose, no mouth. You don’t need a mouth to speak. They feel imperfect, unfinished. They seek complicity in the viewer. Looking for a moment at the world through eyes that are not your own.

Roz Moreton

Gwobr Gelfyddyd Ar

Gyfer Artistiaid Newydd

Emerging Artists Prize

Silent Voices: Pandemic Numbers

Mae fy ngwaith yn archwilio sut y gall llinell a ffurf gynrychioli elfennau o’r emosiynol a’r corfforol; y corff dynol a’i berthynas â’n gofod amgylcheddol a gwleidyddol. Mae hyn yn cael ei gyfieithu trwy ddarlunio, cerflunwaith, tecstilau, ffotograffiaeth a ffilm. Mae Silent Voices: Pandemic Numbers yn ymateb i’r thema o Aildanio. Rwy’n defnyddio’r syniad o’r mwgwd i fynegi unigedd, galar, anghrediniaeth, poen a dicter fy hun ac eraill, yn ystod y cyfnod hwn.

Mae’r mygydau yn cynrychioli ymateb emosiynol personol a chyfunol i ddigwyddiadau yn ystod y pandemig. Rwy’n defnyddio ystod o gyfryngau a phrosesau wedi’u gwneud â llaw i ystyried sut mae’n datgelu ac yn cuddio ar yr un pryd.

My work explores how line and form may represent elements of the emotional and the physical; of the human body and its relationship with our environmental and political space. This is translated through drawing, sculpture,textiles, photography and film.

In response to the Aildanio theme; my Silent Voices of our Pandemic. I am utilising the idea of the mask to express my own and others isolation, grief, disbelief, pain and anger, during this time.

The masks represent a personal and collective emotional response to events during the pandemic. I use a range of media and handmade processes to consider how it both reveals and conceals.

Roeddwn i eisiau dangos sut roedd sefydliad

celfyddydau cyhoeddus barus (mwy barus nag

erioed) yn gwthio, yn fodlon i artistiaid wneud mwy, a datgelu mwy. Gyda’r perthynas agos a sefydlwyd

yn ystod y cyfnod clo, daeth elfen cas o werthu

eich manylion mwyaf personol i’r dorf fwydo arnynt. Mae yna wastad elfen o ddiwydiant eisiau i artist

losgi mor llachar nes ei fod yn dinistrio ei hun. Mae

hyn yn gwerthu! Yn gwerthu’r hen syniad o’r artist sy’n dioddef, a’r cyhoedd voyeuraidd. Ond gyda

thwf cyfryngau cymdeithasol, mae yna bwysau i werthu’ch dioddefaint, gwerthu’ch personoliaeth, i gyd yn enw rhannu. Ond pwy sydd dal yna pan

ddaw’r llenni i lawr?

I wanted to show how a hungry public arts establishment (hungrier than ever) were pushing, willing artists to do more, and to reveal more. With the intimacy that was established during the lockdown, there was a nasty element of selling your intimate details for the crowd to feed upon. There is always an element of industry that wants an artist to burn so brightly that they consume themselves. This sells! Sells the old idea of the suffering artist and a voyeuristic public. The swan song. The dance of the red shoes. But with the rise of social media, there is a real push to sell your suffering, sell your personality, in the name of sharing is caring. But who is there after the curtain call?

Ceridwen Powell

Oranges Are Not the Only Fruit

Mae Oranges Are Not the Only Fruit yn ymwneud

â sut mae llawer o wahanol ffyrdd o fodoli yn y byd

a dylid gwerthfawrogi a dathlu gwahaniaethau.

Yn lle hynny, yr hyn sy’n ymddangos fel petai’n

digwydd yw bod pobl yn ceisio gwthio pobl i flychau

taclus yn hytrach na pharchu pwy ydych chi.

Oranges Are Not the Only Fruit is about how there are many different ways of being in the world and difference should be valued and celebrated. Instead, what seems to happen is that people try to ‘pigeonhole’ you and fit you into their way of being rather than respecting who you are.

Gaia Redgrave

Shizen yw’r gair Japaneaidd sy’n disgrifio un o egwyddorion estheteg Zen. Mae’n disgrifio

absenoldeb cellwair neu ffugioldeb, bwriad

creadigol llawn heb ei orfodi. Mae Shizen yn

cynnwys tri phanel wedi’u gwehyddu sy’n disgrifio’r

broses fewnol a brofwyd tra ar daith ymchwil a datblygu. Nod y daith oedd datblygu arfer

celfyddydol mewn modd sy’n dod yn gynaliadwy

o safbwynt ariannol ac iechyd a lles ac sy’n dileu

rhwystrau i fynediad o fewn y celfyddydau. Yn

ogystal, nod y daith oedd datgelu sut y gallai

ymarfer synhwyraidd niwro-ddargyfeiriol Gaia

ddod yn ganolog i’w hymarfer celfyddydol. Cafodd y paneli eu gwehyddu gan ddefnyddio techneg

gwehyddu ymgorfforedig lle mae amgylchedd

mewnol synhwyraidd a phrofiad yn cael eu trosi i ffurf gorfforol. Yn debyg i’r diffiniad o Shizen, nid natur amrwd fel y cyfryw yw proses Gaia, ond un

â mwy o bwrpas a bwriad gyda llif. Trwy weithio

gyda’i phrofiadau synhwyraidd fel man cychwyn, gall Gaia ailgysylltu â’i hun fel rhywun sy’n niwroddargyfeiriol, pan mae’r byd yn ei gorlethu. Mae hi’n creu ei gofod ei hun. Mae dechreuad Gaia, ei sbarc, ei Aildanio, hefyd yn datblygu i fod yn ofod gorffwyso iddi, ei phroses a’i phrosesu mewnol, a’i thaith i fydoedd newydd lle mae hi’n cyfathrebu ag eraill trwy ei gwaith.

Shizen is the Japanese word describing one of the principles of Zen aesthetics. It describes an absence of pretense or artificiality, full creative intent that is unforced. Shizen consist of three woven panels that describe the internal process experienced whilst on a research and development journey. The aim of the journey was to develop an arts practice in a manner that it becomes sustainable from a health & wellbeing and a financial point of view and removes barriers to access within the arts. Additionally, the journey was to uncover how Gaia’s neurodivergent sensory practice could become central to her arts practice. The panels were woven using an embodied weaving technique whereby a sensory internal environment and experience is translated into physical form. As with the definition of Shizen, Gaia’s process is not raw nature as such but one of more purpose and intention with flow. By working with her sensory experience as her starting point, Gaia can reconnect to herself as someone who is neurodivergent, when the world becomes too much. She creates her own space. Gaia’s beginning, her spark, her Aildanio also becomes her resting space, her process and inner processing and her journey to new realms which she is only able to communicate to others through her work.

Tina Rogers

Mae bod yn sownd ‘tu fewn’ am 28 mis yn rhoi

amser i chi ystyried eich bywyd, sut rydych chi’n

ffitio i mewn i gymdeithas fel person anabl ac os oes unrhyw beth wedi newid i ni ar ôl effeithiau

dinistriol a pharhaus Covid-19. Yn ystod y pandemig, rhoddwyd ‘Codiad’ o £20 yr wythnos i bobl ar Gredyd Cynhwysol. Ni chafodd hwn ei ymestyn i unrhyw un ar fudd-daliadau etifeddiaeth anabl.

Pan ddaw’r gaeaf, rwy’n gwybod na fyddaf yn gallu

gwresogi fy nhˆy, ac efallai na fyddaf yn gallu gwefru

fy nghadair olwyn. Mae’r ddrysfa o fudd-daliadau, yr angen cyson i BROFI eich bod YN ANABL, ac

yna’r gwrthod, yr ailystyried, yr ysgrifennu a’r ffonio

diddiwedd, bob amser yn mynd â chi i unman. Canfu

Sefydliad Joseph Rowntree fod hanner y bobl sy’n

byw mewn tlodi yn 2017-2018 naill ai’n anabl neu’n

byw gyda pherson anabl. Mae fy siwrnai fy hun yn

mordwyo budd-daliadau wedi bod yn gyfrifol am

chwalfa lwyr o ran fy iechyd meddwl a chorfforol, ers i mi fynd yn sâl 16 mlynedd yn ôl. Boddi yn y gwaith

papur na allwn ymdopi ag ef, marw oherwydd bod

yr Adran Gwaith a Phensiynau yn ei gwneud mor anodd i ni hawlio, gan wneud y profiad a’r archwiliad

meddygol mor ARSWYDUS fel eich bod yn gwneud

unrhyw beth i beidio â mynd drwyddo eto. Yn 2016, roeddwn yn ystyried lladd fy hunan pan wrthodwyd fy symud o Lwfans Byw i’r Anabl i PIP.Mae’r gwaith yn ble, yn ddrych, yn ddarlun o’r ffordd mae’n teimlo

i fyw ar fudd-daliadau, ac os bydd un person yn

gweld y darlun hwn ac yn dechrau deall, bydda i wedi cael fy Aildanio.

Being stuck ‘In’ for 28 months gives you time to contemplate your life, how you fit into society as a disabled person and if anything has changed for us after the devastating and continuing effects of Covid. During the pandemic people on Universal Credit were granted an ‘Uplift’ of £20 a week. This was not extended to anyone on disabled legacy benefits. When winter comes I know I will not be able to heat my house, and possibly may not be able to charge my wheelchair. The Maze of benefits, the constant need to PROVE you ARE DISABLED, and then the refusal, the reconsideration, the endless writing and phoning, always get you nowhere. The Joseph Rowntree Foundation found that in 2017-18 half of people in poverty were either disabled or lived with a disabled Person. My own journey in navigating benefits has been responsible for a complete breakdown in my mental and physical health, since -I became ill 16 years ago. Drowning in the paperwork we can’t cope with, dying because the DWP make it so difficult to claim, making the experience and medical so HORRIFIC that you will do anything to not go through it again. In 2016 I contemplated suicide when my migration from Disability Living Allowance to PIP was refused. The work is a plea, a mirror, a depiction of how it feels to be on benefits, and if one person sees this painting and gains some understanding – then this is my Aildanio.

Metamorphosis Menai Rowlands

Gwobr Gelfyddyd Ar

Gyfer Artistiaid Newydd

Emerging Artists Prize

Mewn ymateb i thema Aildanio roeddwn am greu rhywbeth a oedd yn cipio’r emosiynau sy’n

gysylltiedig â chyfnodau llawn newid, trawsnewid a dechreuadau newydd. Teimladau sydd wedi’u chwyddo i lawer yn ystod y cyfnod diweddar.

Gall y glöyn byw fod yn symbol ar gyfer aileni, myfyrio neu dwf ysbrydol. Cefais fy nenu at greu mynegiant anhrefnus o’r themâu hyn. Er bod y glöyn byw yn greadur llonydd ar yr wyneb, gall y broses o fywyd (a marwolaeth) fod yn boenus, anniben a ffrwydrol.

Mae animeiddio yn gyfrwng y cefais fy nenu i’w archwilio yn ystod y ddwy flynedd ddiwethaf. I mi, mae’r gweithredoedd sy’n gysylltiedig â chreu darn o gelf yn bwysicach na’r canlyniad. Mae’r broses

o dorri, rhwygo, darlunio, peintio a chydosod yn gathartig ac yn fyfyriol. Mae’n cynnig cyfle i ymgolli yn y grefft o wneud ac i fyfyrio ar fywyd o ddydd i ddydd mewn ffordd haniaethol. Trwy animeiddio, roeddwn yn gobeithio cipio’r ymdeimlad hyn.

In response to the Aildanio theme I wanted to create something that captured the emotions associated with times of change, transformation and new beginnings. Feelings that have been amplified for many during recent times.

The butterfly can be a symbol for rebirth, reflection or spiritual growth. I was drawn to creating a chaotic expression of these themes. Although the butterfly is a tranquil creature on the surface, the process of life (and death) can be painful, messy and eruptive.

Animation is a medium that I found drawn to exploring during the past two years. For me, the actions of creating a piece of art is more important than the outcome. The process of cutting, ripping, drawing, painting and assembling is cathartic and mediative. It offers a chance to be lost in the art of making and to reflect on day to day life in an abstract way. Through animation I hoped to capture a sense of this.

Jordan Sallis

Dechreuais beintio ar 23.03.20 pan gyhoeddwyd y cyfyngiadau symud yng Nghymru, hyd at 07.07.20

pan godwyd y cyfyngiadau.

Ni phrofais unrhyw broblemau yn dod o hyd i ysbrydoliaeth o ddydd i ddydd. Ffynnodd fy nghreadigrwydd. Byddwn yn pasio blodyn llachar ar fy nhaith gerdded, gan wybod fod gen i rywbeth i’w beintio’r diwrnod hwnnw, a byddwn yn dychwelyd yfory i ailafael yn y daith. Sicrhaodd hynny fy mod yn creu yn ddyddiol ac yn adeiladuar fy ymarfer

creadigol yn ogystal â fy ngwybodaeth o ran

adnabod planhigion a blodau naturiol

Cynnwyd fflam greadigol, ac unwaith roedd y cyfnod clo drosodd, parhaodd i losgi ar ffurf gweithiau eraill.

Gwthiodd y gwaith celf hwn fy ymarfer ymhellach a dydw i ddim wedi stopio ers hynny. Rwyf wedi bod yn gweithio gydag inc siarcol yn rheolaidd ers hynny, yn llosgi fy mhren fy hun a’i ddatblygu i greu inc. Mae hynny wedi fy ngyrru i arbrofi gyda ffurfiau amgen o inciau naturiol

Rhoddodd y cyfyngiadau clo ryddid i mi, creodd lwybr i mi gamu y tu allan i’m man cyfforddus, tra’r oedd yn ymddangos bod pawb arall yn colli eu rhyddid.

I started painting on the 23.03.20 when lockdown was announced whilst living in Wales up until 07.07.20 when restrictions were lifted.

Every day I had no issues finding inspiration. My creativity flourished. I would pass a bright flower on my walk, knowing that I had already painted a subject for that day, so I would return tomorrow to resume the journey. It ensured that I would create daily and build on my creative practice as well as knowledge of identifying natural plants and flowers.

A creative flame was lit, and once lockdown was over, it continued to burn through the forms of other works. This artwork pushed my practice further and I haven’t stopped since. I have been working with charcoal ink regularly since, burning my own wood on a fire and developing it into ink. It’s propelled me onto experimenting with alternative forms of natural inks.

The restrictions of lockdown gave me freedom, it created a path for me to step outside my comfort zone, whilst it seemed everyone else was losing their freedom.

Booker Skelding

Rwy’n ffotograffydd niwroddargyfeiriol a LGBTQ

arobryn. Mae fy ffotograffiaeth yn ceisio cysylltu â’r

gynulleidfa trwy ddogfennu’r hyn sy’n digwydd o’m

cwmpas, materion cyfoes, newidiadau a cholledion, yn bersonol ac o fewn cymunedau. Cynhaliwyd

blwyddyn olaf fy Ngradd Ffotograffiaeth BA yn ystod

pandemig Covid-19. Er gwaethaf yr heriau o fod

yn niwroddargyfeiriol ac addasu i ddarlithoedd a

mentora ar ‘Zoom’, enillais Anrhydedd Dosbarth

Cyntaf. Datglodd yr hyder o’r cyflawniad hwnnw

a’m diagnosis hwyr o awtistiaeth ddrysau i mi.

Dyma oedd fy ‘Aildanio’, fy ‘Ailgychwyn’: arweiniodd

y pandemig at rai newidiadau cadarnhaol sydd

wedi bod yn ddefnyddiol iawn i’m hymennydd niwroddargyfeiriol. Gallaf nawr ddysgu a chysylltu â’r byd yn well. Mae’r cynnydd aruthrol a rhwyddineb

cymharol dysgu ar-lein wedi bod yn gynhwysol i bobl anabl a niwrowahanol, gan eu helpu i sicrhau

chwarae teg yn y byd niwro-nodweddiadol.

Fodd bynnag, mae ffordd bell i fynd o hyd, ac rwy’n bwriadu defnyddio fy ffotograffiaeth i godi ymwybyddiaeth a bod yn agored i newid.

Mae fy nelweddau ‘Aildanio’ yn archwilio cyfleoedd newydd a fy hunaniaeth bersonol awtistig, LGBTQ;

gyda’r delweddau hyn rwy’n gwahodd y gwylwyr i

ystyried sut y gallent ddatgloi eu potensial eu hunain a chael eu grymuso i ymrwymo i rywbeth newydd.

I am an award-winning neurodivergent and LGBTQ photographer. My photography seeks to connect with the audience by documenting what is happening around me, current affairs, changes and losses, both personally and within communities. The final year of my BA Photography Degree took place during the Covid-19 pandemic. Despite the challenges of being neurodivergent and adjusting to ‘Zoom’ lectures and mentoring, I gained First Class Honours. The confidence from that achievement and my late diagnosis of autism unlocked doors for me. It was my ‘Aildanio’, my ‘Restart’: the pandemic led to some positive changes which have been very helpful to my neurodivergent brain. I can now learn and connect with the world better. The enormous rise and relative ease of online learning has been inclusive for disabled and neurodivergent people, helping them towards a level playing field in the neurotypical world. However, there is still a long way to go and I intend to use my photography to raise awareness and openness to change.

My ‘Aildanio’ images explore new opportunities and my personal autistic, LGBTQ identity; with these images I invite the viewer to consider how they might unlock their own potential and realise the empowerment of committing to something new.

Bethany & Linda Sutton

Gwobr Gelfyddyd Ar

Gyfer Artistiaid Newydd

Emerging Artists Prize

Radiance

Mae Linda a Bethany Sutton yn dîm mam a merch o artistiaid sy’n byw yn nyffryn Conwy. Ychydig

fisoedd yn ôl, dechreuodd Bethany ddangos

diddordeb mewn cyfathrebu trwy gelf ac felly dechreuodd eu taith artistig. Eu hamgylchedd naturiol, y môr a’r mynyddoedd yw ysbrydoliaeth

Bethany a Linda, gan ddefnyddio acryligion, cyfryngau cymysg a gwrthrychau a ddarganfuwyd.

Mae’r ddau artist yn byw gydag anabledd. Mae

Linda yn profi llewyg ac mae Beth yn artist di-eiriau, awtistig ag epilepsi. Mae hi’n defnyddio ei chelf i gysylltu â’r byd ac i fynegi ei hun.

“Gan ddefnyddio thema ‘Aildanio’, cawsom y syniad o gannwyll yn ymestyn i’r tywyllwch, gan

gynrychioli aildaniad a fflach o greadigrwydd. Coelcerth o obaith yn y byd.”

Linda and Bethany Sutton are a mother and daughter team of artists who live in the Conway valley. A few months ago Bethany began to show an interest in communicating through art and so their artistic journey began. Their natural environment, the sea and the mountains are Bethany and Linda’s inspiration, using acrylics, mixed media and found objects.

Both artists live with a disability. Linda experiences collapses and Beth is a non-verbal, autistic artist with epilepsy. She uses her art to connect with the world and to express herself.

‘Using the Aildanio theme, we had the idea of a candle reaching out into the darkness, representing a rekindling and outburst of creativity. A positive beacon of hope in the world.’

Alana Tyson

Mae’r gwaith hwn yn rhan o gyfres o flancedi babanod wedi’u crosio. Tra roeddwn yn cynhyrchu’r

gwaith, roeddwn i’n ymgodymu â’m hansicrwydd

fy hun ynghylch gwerth gweithgaredd o’r fath. Er bod rhai yn gwadu ei fodolaeth barhaus, erys hierarchaeth yn y byd celf. Mae tecstilau yn “fenywaidd”, yn aml yn cael eu gwneud yn y byd

domestig, ac mae rhagfarn yn erbyn y “benywaidd”

yn parhau i fod yn hollbresennol. Mae dilorni crefft yn amlygiad arall o’r ffaith bod menywod yn

parhau i gael eu gwthio i’r cyrion yn y byd celf. Yn y gorffennol, mae fy ngwaith wedi dangos sgil crefft

uwch ac wedi’i fireinio’n fawr; mae’r gyfres hon yn

llai soffistigedig ar bwrpas. Doeddwn i ddim eisiau

i’r gwaith fod yn rhy brydferth, wedi’i wneud yn rhy

dda, yn hawdd i gyfiawnhau ei fodolaeth oherwydd y sgil a’r amser cysylltiedig. Mae’n hawdd gosod

gwerth ar rywbeth gyda thermau ariannol – dyma

pam mae llywodraethau ac economegwyr yn hoff o bethau fel GDP. Ond mae llawer mwy o ffyrdd y

gellir mesur gwerth, a phan fyddwn yn rhoi gwerth

ariannol yn unig, mae pethau / pobl / rhannau o fywyd yn cael eu hanwybyddu. Felly, mae’r flanced

babi bach coeglyd hon mewn edafedd acrylig rhad

yn ymwneud â chymaint mwy, am yr hyn yr

ydym yn ei werthfawrogi yn ein cymdeithas a’r

cydbwysedd y teimlaf sydd angen ei ailystyried.

This work is a part of a series of crocheted baby blankets. While I was making it though, I was wrestling with my own insecurities about the value of such activity. Although some deny its continued existence, there remains a hierarchy in the art world. Textiles are “feminine” , often made in the domestic sphere, and prejudice against the “feminine” continues to be pervasive. The debasement of craft is yet another manifestation of the continued marginalization of women in the art world.

My past work has shown advanced craft skill and been highly refined; this series is intentionally less sophisticated. I didn’t want the work to be too beautiful, too well made, easy to justify in its existence because of the skill and time involved.

It is easy to place a value on something with monetary terms – this is why governments and economists love things like GDP. But there are many more ways in which worth can be measured and when we only value numbers, things/people/parts of life are overlooked. So, this sardonic little baby blanket in cheap acrylic yarn is about so much more, about what we value in our society and the balance that I feel needs readdressing.

Phillippa Walter

Astudiais ddarlunio mewn addysg uwch am saith mlynedd a phan adawais y brifysgol, collais fy angerdd am greadigrwydd. Hyfforddais fel hyfforddwr awyr agored, a threuliais y rhan fwyaf o fy ngyrfa yn hyfforddi dringo a chwaraeon padlo. Roeddwn wrth fy modd gyda fy swydd a bod yn yr awyr agored, fodd bynnag daeth anawsterau gan nad oeddwn yn ymwybodol fy mod yn niwroamrywiol.

Mae adroddiad gan y Swyddfa Ystadegau Gwladol yn dangos mai pobl awtistig sydd leiaf tebygol o fod mewn gwaith o unrhyw grŵp anabl arall. Dim ond

21.7% o bobl awtistig sydd mewn cyflogaeth, er bod y mwyafrif ohonom eisiau bod mewn gwaith.

Ar ôl blynyddoedd lawer o frwydro gyda chyflogaeth, cefais anaf yn 2017 a ddaeth â fy ngyrfa i ben a chefais fy hun yn llochesu mewn siopau llyfrau comig. Syrthiais mewn cariad â’r nofelau graffeg hardd a chanfûm fod fy awydd i fod yn greadigol wedi’i ailgynnau. Dechreuais wneud printiau ac, ar ôl un diwrnod o nofio’n noeth yn y môr, fe wnes i greu darn o waith celf a oedd yn mynegi fy hoffter at y rhyddid llawen o fod yn y dŵr. Rhannais fy nghelf gyda’r byd ac, o hyn, llwyddais i adeiladu gyrfa newydd gan greu torluniau leino doniol o bobl noethlymun yn ymgysylltu â natur, a’r creaduriaid hardd sy’n byw yno.

I studied illustration in higher education for seven years and when I left university, I lost my passion for creativity. I trained as an outdoor instructor, and spent most of my career instructing climbing and paddle-sports. I loved my job and being outdoors, however it came with difficulties as I was unaware that I was Neurodiverse.

A report by the Office for National Statistics shows that autistic people are the least likely to be in work of any other disabled group. Just 21.7% of autistic people are in employment, even though the majority of us want to be in work.

After many years of struggling with employment I sustained an injury in 2017 which ended my career and I found myself taking refuge in comic book shops, I fell in love with the beautiful graphic novels and I found that my desire to be creative was reignited. I began printmaking and after one day skinny dipping in the ocean I created a piece of artwork that expressed my adoration for the joyful freeness of being in the water. I shared my art with the world and from this I was able to build a new career creating funny linocuts of naked people in nature, and the beautiful creatures that live there.

Sara Louise Wheeler

Hunan bortread yw hwn, sy’n dangos fi’n edrych

i fyny gyda fy llygaid ar gau, â mynegiant myfyriol.

Mae’n darlunio fy ngwallt a’m croen sydd wedi’u dibigmentio, a hefyd y cochlea, sydd wedi ei newid

am awrwydr lle mae tywod amser yn llifo o’r top

i’r gwaelod, i symboleiddio colled y clyw. Wrth i’r pigment yn fy cochlea fynd ar goll, felly hefyd mae

fy nghlyw yn gwneud. Mae’r darlun hwn yn rhan o gyfres o weithiau celf a cherddi hunan-seicdreiddiad, lle rwy’n dysgu derbyn realiti fy nghyflwr, Syndrom

Waardenburg Math 1. Rwy’n derbyn fy mod yn colli fy nghlyw fel proses naturiol, wrth ei weld

fel ailgychwyn ac felly ‘aildanio’ ac addasu fy

ymdeimlad o hunaniaeth, trwy ddysgu synnwyr

hunan-gorfforedig newydd. Creais y ddelwedd hon

i gyd-fynd â’m cerdd ‘Y ras i cynganeddu’. Rydw i

mewn ras yn erbyn amser i ddysgu barddoniaeth

gynghanedd, gan ddatblygu’r sgiliau angenrheidiol, cyn i tywod amser y clyw rhedeg allan.

This is a self-portrait, showing me looking upwards with my eyes closed, with a contemplative expression. It depicts my depigmented hair and skin, and also the cochlear, which is symbolized by the replacement of the cochlear with an hourglass in which the sands of time are flowing from the top to the bottom. As the pigment in my cochlear is lost, so too is my hearing. This drawing is part of a series of self-psychoanalysis artworks and poems, in which I am learning to accept the reality of my condition, Waardenburg Syndrome Type 1. I am accepting that I am losing my hearing as a natural process, whilst seeing it as a reboot, reigniting and thus ‘aildanio’ and adaptation of my sense of identity, by learning to adapt to my new embodied sense of self. I created this image to accompany my poem ‘Y ras i cynganeddu/The race to cynganeddu’. I am in a race against time to learn cynghanedd poetry, developing the necessary skills, before the sands of hearing time run out.

Julia Wilson

Gwobr Gelfyddyd Ar

Gyfer Artistiaid Newydd

Emerging Artists Prize

The Wild Winds of Wales

Ad Cym

Teitl fy narn celf yw “The Wild Winds of Wales” sy’n darlunio, gyda hiwmor, cerdd wedi ei chreu gan

ffrind, Paul McCue. Mae popeth wedi ei orwneud

i gyfleu cryfder gwyntoedd Cymru, fel dail yn cael

eu chwythu gan y gwyntoedd ffyrnig , adar yn cael

eu taflu ar hyd yr awyr, dwy fuwch a char yn ben i weired, un wedi ei gorchuddio a blodau, mae

drws bwthyn wedi ei chwythu i ffwrdd ac mae dyn

dryslyd yn y fynedfa agored yn gwylio’r olygfa’n ymledu ac mae defaid i fyny mewn coeden.Proffil menyw (wedi ei ddoctora’n ddigidol) yn y blaendir, dde gwaelod, yn gegrwth gyda’i cheg lled agored, wrth weld y difrod. Mae ei ffocws ar y lein ddillad , ble mae dillad yn cael eu rhwygo i ffwrdd, uwchben y potiau ceramig wedi torri, (wedi ei gynyddu’n ddigidol gyda graddiannau) o ble daw blodau wedi eu taflu, gyda rhai ohonynt nawr ar fuwch sydd ben i weired. Gerllaw mae dau fwced wedi eu chwythu drosodd ac ymbarél tu chwith allan. Mae’r geiriau yn llifo ar draws y darlun mewn llinell grom ysgubol mewn meintiau amrywiol i gyfleu cryfder symudiad, gan awgrymu eu bod hefyd yn cael eu chwythu o gwmpas.Mae gan y darlun forder graddiant glasaidd gyda’r teitl yn Gymraeg ar y gwaelod.

My piece of art is titled “The Wild Winds of Wales” that humorously illustrates a poem written by a poet friend, Paul McCue. Everything is exaggerated to depict how strong the Welsh winds can be such as leaves being blown by the ferocious winds, birds are being thrown all over the sky, two cows and a car are upside down, one covered in flowers, a cottage door has been blown away, a bewildered man inside the exposed doorway is watching the scene unfurl and sheep are up in a tree.A profile of a woman (digitally manipulated) in the foreground, bottom left corner, is gobsmacked, with her mouth wide open, at the destruction. Her focus is on the washing line, on which laundry is being ripped away, above the overturned and broken ceramic pots, (digitally enhanced with gradients) from which the flower contents have spilled, some ending up on an upturned cow. Nearby are two blown over buckets and an inside out umbrella. The words flow across the picture in a sweeping curve in differing sizes to give strength of movement, implying they too are being blown around.

Mae Celfyddydau Anabledd Cymru (CAC) yn gweithio i hyrwyddo cydraddoldeb i artistiaid

anabl a Byddar yng Nghymru.

CAC yw’r prif sefydliad cenedlaethol ar gyfer

celfyddydau anabledd, gan gefnogi dros 300 o aelodau sy’n artistiaid Byddar neu anabl i greu a rhannu gwaith a chael mynediad at gyfleoedd ar bob cam o’u taith greadigol.

Wedi’i ffurfio fel Elusen ym 1982, mae CAC ar hyn o bryd yn dathlu ei 40fed blwyddyn fel yr unig sefydliad celfyddydol a arweinir gan anabledd i Gymru gyfan. Gan weithio i’r model cymdeithasol o anabledd, mae CAC yn cydnabod mai rhwystrau cymdeithasol sy’n ein gwneud yn anabl, nid ein namau. Yn ogystal â chefnogi artistiaid unigol, CAC yw’r unig sefydliad yng Nghymru sy’n darparu

Hyfforddiant Cydraddoldeb Anabledd (HCA) sy’n benodol i’r celfyddydau.

Dewch yn aelod o Gelfyddydau Anabledd Cymru

heddiw i ymuno neu gael mynediad at y rhwydwaith

mwyaf o artistiaid anabl yng Nghymru ac elwa

o gyngor arbenigol, cefnogaeth, digwyddiadau a chyfleoedd.

Rydym hefyd yn croesawu aelodau anabl a rhai nad ydynt yn anabl neu nad ydynt yn artistiaid ond sydd â diddordeb mewn cefnogi ein gwaith. Mae aelodaeth am ddim i bobl anabl a Byddar sy’n hunanddatgelu a £10 i bobl nad ydynt yn anabl a phobl y tu allan i Gymru.

Darganfod mwy: www.disabilityarts.cymru

Cefnogwch ein gwaith: www.localgiving.org/charity/disability-arts-cymru

Nodwch: mae CAC yn gweithio o fewn model

cymdeithasol anabledd, sydd yn canolbwyntio ar y rhwystrau rydym ni fel pobl anabl yn eu gwynebu

yn ddyddiol. Weithiau, nid yw’r iaith mae rhai o’n

hartistiaid yn ei ddefnyddio i ddisgrifio eu gwaith yn adlewyrchu’r fframwaith yma.

Disability Arts Cymru (CAC) works to promote equality for disabled and Deaf artists in Wales.

CAC is the leading national organisation for disability arts, supporting over 300 members who are Deaf or disabled artists to create and share work and access opportunities at every stage in their creative journey.

Formed as a Charity in 1982, CAC is currently celebrating its 40th year as the only all Wales disability-led arts organisation. Working to the social model of disability, CAC acknowledges that it is societal barriers which disable us, not our impairments. In addition to supporting individual artists, CAC is the only organisation in Wales that provides arts-specific Disability Equality Training (DET).

Become a member of Disability Arts Cymru today to join or gain access to the biggest network of disabled artists in Wales and benefit from expert advice, support, events and opportunities.

We also welcome disabled and non disabled members who are not artists but who are interested in supporting our work

Membership is free to self-disclosing disabled and Deaf people and £10 for non-disabled identifying people and those outside of Wales. Find out more:

www.disabilityarts.cymru

Support our work:

www.ocalgiving.org/charity/disability-arts-cymru

Please note: DAC works to the social model of disability which focuses on the ‘disabling barriers’ we as disabled people deal with day to day. The language some of the artists use about their work is not always reflective of this framework.

Dylunio/Design: heightstudio.com