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Introduction 4 Notes 12 Artists 30

contentscynnwys "Aberystwyth had a significant impact on my practice...and I'm still working on ideas that were planted whilst there. It was an inspiring place to be"

Cyflwyniad 16 Nodiadau 24 Artistiaid 30

Quotations throughout are taken from artists’ feedback

INTRODUCTION Eve Ropek exhibitions curator at Aberystwyth Arts Centre & Residencies programme director

Aberystwyth Arts Centre Artists’ Residencies In 2009 Aberystwyth Arts Centre, a department of Aberystwyth University, opened an award winning complex of eighteen Creative Studios, designed by Thomas Heatherwick, for artists and creative businesses; three of these distinctive units have been reserved for use in a rolling programme of temporary Artists in Residence. Since the Studios opened there have been either two or three visual artists at a time, from both the UK and elsewhere in the world, spending three months 'in residence' in Aberystwyth. This publication features the first 34 artists to take part in the programme, which has been made possible by funding from: EsmÊe Fairbairn Foundation, which enabled the project to be first launched; Garfield Weston Foundation; Wales Arts International, Laura


The residency at Aberystwyth gave me three months of uninterrupted time to concentrate on my art practice, which is an amazing thing

Ashley Foundation, Meduse Quebec, Finnish Arts Studio, Umbrella Arts Australia and Charles Wallace Foundation (Pakistan); Aberystwyth Arts Centre provided further financial and 'in kind' support. Some moments from the past 3 years: an artist making huge sculptures out of plastic bags and using individual bags as the subjects of her films - ethereal, unexpectedly beautiful; another blacking out his studio windows, working long hours making a film by drawing with torchlight; another involving new local friends and contacts in his performances and films which pay tribute to arcane folk practices. Yet others have

Such a residency should be a mandatory event for all artists

painted, drawn, made ceramics and researched throughout their time in Aberystwyth, made installations and performances and installed permanent sculptures. Each artist gives a free public talk about their work and holds Open Studio towards the end of their stay, and many have made lasting friends and connections. So what are visual artists' residencies for? Most visual artists tend to work in relative isolation, often with a 'portfolio career' to keep the books balanced; over time an artist's career has fewer official milestones


than many professions. A residency is part award, part 'time out', part stimulus to the imagination. There are many different models of residencies, but the aim of Aberystwyth Arts Centre's programme has been to offer artists the opportunity for supported, self-directed time in which to research and develop individual artistic practice, and the chance to exchange ideas in a creative atmosphere. As an artist commented: 'Artists' residencies are invaluable. They provide not only space and time but a complete mental break from routine.' The communities of Aberystwyth and the Arts Centre also benefit from residencies, which offer an engaging and immediate insight into artists' working practices. The public talks and Open Studio sessions, which all artists in residence deliver, act as a bridge between the artists and local people. More directly, some of the residencies have included participatory sessions for the public; although these need additional fund-raising in order to cover professional fees for the artists, they have proved to be effective both for the participants and for the resident artists who become rooted in the community more quickly.


I will mention the Arts Residency in glowing terms to any future audiences I have when giving talks and classes.

An independent evaluation of the Artists' Residency programme in 2010 and 2011 was commissioned; this proved overwhelmingly positive, and offered suggestions for future development. Extracts from the report follow:

Evaluation of Residencies programme at Aberystwyth Arts Centre (extract) by Clare Thomas Arts Consultant It is clear from this evaluation of the first complete cycle of the Artists' Residencies Programme at Aberystwyth Arts Centre that the programme has fulfilled, indeed has exceeded its aims. The artists' views, which are mirrored by those of staff, indicate

It was an honour to be chosen for this residency. Thank you for the excellent experience.

that the programme is well thought out, well managed, with good systems and support mechanisms in place. It meets the needs of the artists extremely well. Mutual benefits In common with many other such schemes, the Arts Centre Programme and its associated local, regional and even national communities (of artists, visitors, participants etc.) have benefitted from residencies as much if not more than the


artists. The positive impact the residency programme has already had on the Arts Centre, such as raising profile, status, increased community engagement, greater access to international networks, the creation of and access to new work, and the development and re-invigoration of audiences, provides powerful arguments for the further development of the programme. The Artists' Residencies Programme, the only one of its kind in Wales, therefore, can already demonstrate the contribution it makes to the local community, and to the arts at regional and in some cases, at national level. A powerful means of creative innovation The injection of fresh creative ideas and energy through the diverse range of artists who visit Aberystwyth cannot be underestimated, bearing in mind Aberystwyth's rural location. The contribution the programme makes to the overall development of partnerships, creative output, bodies of work, profile and status, is perhaps difficult to quantify, but is significant in its impact on the work and development of the Arts Centre at all levels. The contribution to the arts regionally and nationally The very many interactions between artists, local communities, visitors and local people provided 8

Simply to have the time and space to work as an artist in a supportive environment is incredibly important

evidence of a substantial contribution to the region, for example through links with the National Library of Wales, and the events organised by the Arts Centre, including the International Ceramics Festival. Activities in which the artists were involved included: o

resident artist talks


end of residency shows


activities at the National Library of Wales and other local venues


workshops, studio openings and local exhibitions


social contact with local and other visiting artists

In terms of the impact on the arts in Wales, artists felt that the programme is stimulating new work which will raise the reputation of Aberystwyth in a national context. One artist stated: I think the whole programme is making Aberystwyth

Most beautiful studio I have ever worked in‌ Lighting was excellent, natural light provided by the skylights and windows was perfect.

a richer and more innovative artistic hub. The accumulation of artists from different cultures and practices has [made this happen]. another said: I am currently making work resulting from research 9

undertaken whilst at Aberystwyth and I believe that this body of work contributes to the arts in Wales. ...I foresee that as the international element of the residencies develop, so too will the relationships with international arts organisations. Aberystwyth is geographically remote and so I see this as a real positive. New philosophies on making art, diverse practices‌

In summary the scheme: o

Exceeded expectations of the resident artists


Benefitted their creative development


Provided beautiful studios, accessible 24/7, in which to take time out


Benefitted the Arts Centre in a number of important ways: raising its profile and status, bringing in new ideas and creative energy, developing new audiences and stimulating local artistic communities


Provided opportunities for artists to visit other places and people in Wales, and become familiar with Wales as a place to work


Provided welcome and essential financial support for artists


I was really well looked after and had loads of fun‌ I have it in mind to return to Aberystwyth‌

It has the potential to: o

Develop an international profile


Make stronger links with the arts communities in Wales.


Provide more professional development for artists.


Develop in other ways such as through themed programmes, e.g. print making, sculpture.


Build through alumni the potential for future festivals (real and virtual), mentoring and collaboration.

Gallery and artists' visits gave me a deeper understanding of where I am in terms of professional development and where I want to go. 11


Aberystwyth (population c. 25,000) is a

town at the edge of Cardigan Bay, surrounded by sea and the beautiful landscape of Wales. Though small and relatively isolated it punches above its weight as it is home to institutions including Aberystwyth University, the National Library of Wales, the National Screen and Sound Archive of Wales, the Royal Commission on the Ancient and Historical Monuments of Wales among other organisations which have provided fruitful seams to mine for some artists in residence, and supply a great mix of expertise and interest for those who are inclined to follow it up. “The latest theories of economic development, for example those forwarded by Manuel Castells, stress the importance of place, culture and identity in economic prospects. Aberystwyth Arts Centre provides both the 'bread' of jobs and incomes in the locality, and the 'circus' of high quality arts performance and cultural space that protects and develops the uniqueness of its local place.� Economic Impact Study, Cardiff Business school


"I was completely charmed by Aberystwyth and Wales."

Aberystwyth Arts Centre is a department of Aberystwyth University and a vibrant, award winning arts facility; it is the largest arts centre in Wales, including 2 galleries, theatre, concert hall, cinema and more, with a wide-ranging programme of events and activities across all art forms as well as a thriving community arts education programme. In 2000, the Arts Centre completed a major ÂŁ4.3 million redevelopment project largely funded by the National Lottery, and has facilities unrivalled throughout much of the UK; leading it to be recognised as a national centre for arts development and described as a 'national flagship for the arts.' Over 700,000 visitors a year are welcomed.

"Staff at the Arts Centre‌went out of their way to assist with any problem that I faced technically, or in terms of needing promotional materials, etc."


The award winning Creative Studios in which the resident artists are based were designed by the award winning Thomas Heatherwick studio and their construction was supported by the Welsh Development Agency and the Arts Council of Wales. With their crinkled stainless steel cladding they look

"Most beautiful studio I have ever worked in... Lighting was excellent,

very distinctive but the interiors are practical, accessible to the disabled and easily adaptable to many needs. The Studios are occupied long term by artists and creative businesses, apart from the three reserved for residencies. Funding for residencies to date has been generously given by various charitable bodies including Esmee Fairbairn Foundation - without whose generous support it would not have been possible to launch the programme. Other support has been forthcoming from: Garfield Weston Foundation; Wales Arts International, Laura Ashley Foundation, Meduse Quebec, Finnish Arts Studio, Umbrella Arts Australia and Charles Wallace Foundation (Pakistan). Aberystwyth Arts Centre provides further financial and 'in kind' support.


natural light provided by the skylights & windows was perfect."

CYFLWYNIAD Eve Ropek Curadur arddangosfeydd yng Nghanolfan y Celfyddydau Aberystwyth ac Arweinydd y rhaglen Breswyl.

Cyfnodau Preswyl i Artistiaid yng Nghanolfan y Celfyddydau Aberystwyth Bu Canolfan y Celfyddydau Aberystwyth, rhai blynyddoedd yn ôl, yn agor cyfres o 16 o Stiwdios Creadigol, a ddylunwyd gan gwmni Thomas Heatherwick, ar gyfer artistiaid a busnesau creadigol. Clustnodwyd tair o'r unedau hyn ar gyfer cynnal rhaglen o Artistiaid Preswyl dros dro. Ers i'r Stiwdios agor ym mis Medi 2008, bu dau neu dri artist gweledol ar y tro, o'r DU ac o rannau eraill o'r byd, yn treulio cyfnod preswyl o dri mis yma yn Aberystwyth. Mae'r cyhoeddiad hwn yn nodweddu'r 34 artist cyntaf i gymryd rhan yn y rhaglen, a wnaethpwyd yn bosibl yn sgil nawdd oddi wrth: Sefydliad Esmee Fairbairn, a alluogwyd lansio'r prosiect; Sefydliad Garfield Weston; Celfyddydau Cymru Rhyngwladol; Sefydliad Laura Ashley; Meduse Quebec; Stiwdio Gelf y Ffindir, 16

Rhoddodd y cyfnod preswyl yn Aberystwyth dri mis o amser di-dor i mi i ganolbwyntio ar f’ymarfer celf, sydd yn rhywbeth anhygoel.

Umbrella Arts Awstralia a Sefydliad Charles Wallace (Pacistan). Mae Canolfan y Celfyddydau yn cyfrannu rhagor o gefnogaeth ariannol ac ymarferol. Rhai fomentau cofiadwy o'r tair blynedd diwethaf: Artist yn creu cerfluniau enfawr allan o fagiau plastig ac yn defnyddio bagiau unigol fel gwrthrychau ei ffilmiau etheraidd, yn annisgwyl o brydferth; artist arall yn gorchuddio ffenestri'r stiwdio, yn gweithio oriau hir yn gwneud ffilm trwy arlunio gyda golau torch; un arall yn cynnwys ffrindiau a chysylltiadau newydd lleol yn ei berfformiadau a ffilmiau, yn talu teyrnged i ymarferion gwerin dirgel. Bu eraill wedyn yn paentio, arlunio, creu

Dylai cyfnod preswyl o’r math fod yn brofiad gorfodol i bob artist.

serameg ac ymchwilio yn ystod eu hamser yn Aberystwyth, yn creu gosodweithiau a pherfformiadau ac yn gadael cerfluniau parhaol. Bu pob artist yn rhoi anerchiad cyhoeddus yn rhad ac am ddim am eu gwaith ac yn cynnal sesiwn Stiwdio Agored tua therfyn eu harhosiad ac mae llawer ohonynt wedi gwneud ffrindiau a chysylltiadau gwerthfawr. Felly beth yw pwrpas cyfnodau preswyl i artistiaid gweledol? Mae'r rhan fwyaf o artistiaid gweledol yn tueddu i weithio ar eu pennau eu hunain, yn aml gyda rhyw fath o waith arall i dalu'r biliau; dros amser mae 17

'na lai o gerrig milltir swyddogol mewn gyrfa artist nag sydd mewn meysydd proffesiynol eraill. Mae cyfnod preswyl yn rhannol yn wobr, yn 'amser allan' ac yn rhywbeth i symbylu'r dychymyg. Mae 'na lawer o wahanol fathau o gyfnodau preswyl, ond bwriad rhaglen Canolfan y Celfyddydau oedd i gynnig i artistiaid y cyfle i fanteisio ar amser noddedig, hunan-gyfeiriol i ymchwilio a datblygu ymarfer artistig unigol, a'r cyfle i gyfnewid syniadau mewn awyrgylch creadigol. Fel y dywedodd un o'r artistiaid: ''Mae cyfnodau preswyl i artistiaid yn hynod werthfawr. Maent yn darparu nid yn unig gofod ac amser ond seibiant meddyliol llwyr.” Mae cymuned Aberystwyth a'r Ganolfan hefyd ar eu hennill yn sgil y rhaglen, sy'n cynnig cipolwg diddorol ar ymarferion gwaith yr artistiaid. Mae'r anerchiadau cyhoeddus a'r sesiynau Stiwdio Agored yn gweithredu fel pont rhwng yr artistiaid a phobl leol. Yn fwy uniongyrchol, bu rhai o'r cyfnodau preswyl yn cynnwys sesiynau lle 'roedd aelodau o'r cyhoedd yn gallu cymryd rhan, er bod angen nawdd ychwanegol ar y rhain i dalu costau proffesiynol yr artistiaid. Bu'r sesiynau hyn yn hynod effeithiol i'r cyfranogwyr - yn ogystal ag i'r artistiaid preswyl a ddaeth yn rhan o'r gymuned yn fwy cyflym. 18

Byddaf yn sôn am y Cyfnod Preswyl mewn termau brwd iawn i unrhyw gynulleidfa yn y dyfodol pan ‘rwyf yn rhoi anerchiadau ac yn cymryd dosbarthiadau.

Comisiynwyd Clare Thomas i baratoi gwerthusiad annibynnol o'r Rhaglen Artistiaid Preswyl yn ystod 2010 a 2011; bu'r adroddiad yn un positif drosben, gan gynnig awgrymiadau ar gyfer datblygiadau yn y dyfodol. Gwelir dyfyniadau o'r adroddiad isod.

Gwerthusiad o raglen Artistiaid Preswyl Canolfan y Celfyddydau Aberystwyth (Dyfyniadau) by Clare Thomas Mae'n glir o'r gwerthusiad cyntaf hwn o Raglen Cyfnodau Preswyl Canolfan y Celfyddydau Aberystwyth bod y rhaglen wedi cyflawni, ac yn wir wedi rhagori ar yr amcanion gwreiddiol. Mae sylwadau'r artistiaid, sy'n cydfynd â rhai'r staff, yn dynodi bod y rhaglen yn un gynhwysfawr sy'n cael ei rheoli'n dda ac sydd â systemau effeithiol a chefnogaeth frwd yn perthyn iddi. Mae'n cyfarfod ag anghenion yr artistiaid yn arbennig o dda.

‘Roedd yn fraint i gael fy newis ar gyfer y cyfnod preswyl hwn. Diolch am y profiad ardderchog.

Cyd fanteision Fel llawer o gynlluniau eraill o'r math, mae Rhaglen y Ganolfan wedi bod o fudd i'r Ganolfan ei hun a'i chymunedau lleol, rhanbarthol a chenedlaethol (o artistiaid, ymwelwyr, cyfranogwyr ayyb), yn ogystal ag i'r artistiaid. Mae'r effaith bositif y mae'r rhaglen breswyl wedi cael ar y Ganolfan eisoes, o safbwynt codi proffil, 19

statws, rhagor o gysylltiad â'r gymuned, mynediad i rwydweithiau rhyngwladol, creu gwaith newydd a datblygu ac ehangu cynulleidfaoedd, yn ddadl gref o blaid datblygu'r rhaglen ymhellach. Felly, gall y Rhaglen Artistiaid Preswyl, yr unig un o'i math yng Nghymru, ddangos eisoes y cyfraniad y mae'n gwneud i'r gymuned leol, ac i'r celfyddydau ar lefel ranbarthol, ac mewn rhai achosion, ar lefel genedlaethol. Cyfrwng pwerus ar gyfer dyfeisgarwch creadigol Mae'r syniadau a'r egni ffres, creadigol a ddaw gyda'r artistiaid sy'n ymweld ag Aberystwyth yn hynod bwysig, o ystyried lleoliad gwledig y dref. Efallai ni ellir mesur yn union y cyfraniad a wneir gan y rhaglen tuag at ddatblygu partneriaid, gweithgarwch creadigol, darnau o waith, proffil a statws, ond yn sicr mae'n arwyddocaol iawn yn nhermau yr effaith ar waith a datblygiad y Ganolfan ar bob lefel. Y cyfraniad i'r celfyddydau'n rhanbarthol ac yn genedlaethol Bu'r ymadweithiau niferus iawn rhwng artistiaid, cymunedau lleol, ymwelwyr a phobl leol yn dystiolaeth o'r cyfraniad sylweddol i'r rhanbarth, er enghraifft trwy gysylltiadau gyda Llyfrgell Genedlaethol Cymru a'r gweithgareddau a gynhaliwyd yng Nghanolfan y ^ Celfyddydau gan gynnwys yr yl Serameg Ryngwladol. Ymysg y gweithgareddau y bu'r artistiaid yn rhan ohonynt oedd:


Mae jyst cael yr amser a’r lle i weithio fel artist mewn amgylchedd cefnogol yn bwysig drosben

o o o o o o

anerchiadau gan yr artistiaid preswyl sioeau ar ddiwedd y cyfnod gweithgareddau yn Llyfrgell Genedlaethol Cymru a safleoedd lleol eraill gweithdai, sesiynau stiwdio agored ac arddangosfeydd lleol cymdeithasu gydag artistiaid lleol ac eraill sy'n ymweld â'r ardal Yn nhermau'r effaith ar y celfyddydau yng

Nghymru, teimlodd yr artistiaid fod y rhaglen yn symbylu gwaith newydd a fydd yn cyfrannu at enw da Aberystwyth mewn cyd-destun cenedlaethol. Dywedodd un artist: Credaf fod y rhaglen yn ei chyfanrwydd yn gwneud Aberystwyth yn ganolfan artistig fwy cyfoethog a dyfeisgar. Mae hyn yn digwydd yn sgil ymweliaau gan artistiaid o wahanol ddiwylliannau a chefndir. a dywedodd un arall: 'Rwy'n creu gwaith ar hyn o bryd sy'n ganlyniad i ymchwil a wnaethpwyd tra 'roeddwn yn Aberystwyth a chredaf fod y corff hwn o waith yn cyfrannu tuag at y celfyddydau yng Nghymru. Wrth i'r rhaglen breswyl ehangu, dylid gwneud ymdrechion i gryfhau cysylltiadau gyda mudiadau eraill, yn codi proffil yr artistiaid sy'n cymryd rhan a'u heffaith ar

Y stiwdio fwyaf prydferth yr wyf erioed wedi gweithio ynddi … ‘Roedd y goleuo yn rhagorol, ‘roedd y golau naturiol a ddarparwyd gan y ffenestri, gan gynnwys y rhai yn y to, yn berffaith. 21

y celfyddydau, o fewn y rhanbarth a ledled Cymru a'r DU yn gyffredinol. 'Rwy'n rhagweld, wrth i elfen ryngwladol y rhaglen ddatblygu, fe welir datblygiad hefyd yn y perthnasau gyda mudiadau celf rhyngwladol. Yn ddaearyddol mae Aberystwyth yn ddiarffordd felly credaf fod hyn yn beth hynod positif. Athroniaethau newydd ar greu celf, gwahanol ymarferion …

I grynhoi, mae'r cynllun: o o o





Yn cyrraedd y tu hwnt i ddisgwyliadau'r artistiaid preswyl Yn cyfrannu tuag at eu datblygiad creadigol Yn darparu stiwdios hyfryd, sydd ar gael bob awr o'r dydd a'r nos, lle y gellir cael 'amser allan' O fudd i Ganolfan y Celfyddydau mewn nifer o ffyrdd pwysig: Yn codi ei phroffil a'i statws, yn denu syniadau newydd ac egni creadigol, yn datblygu cynulleifaoedd newydd ac yn symbylu cymunedau artistig lleol Yn rhoi cyfleoedd i artistiaid i ymweld â llefydd eraill, i ddod i 'nabod pobl Cymru, ac i ddod yn gyfarwydd â Chymru fel lle i weithio Yn darparu cefnogaeth ariannol hanfodol i artistiaid

‘Roedd pawb yn gofalu amdanaf a chefais lot o hwyl … mae gennyf awydd dychwelyd i Aberystwyth...

Mae gan y cynllun y potensial: o o o o


I ddatblygu proffil rhyngwladol. I greu dolenni cryfach gyda'r cymunedau celf yng Nghymru. I ddarparu datblygiad mwy proffesiynol ar gyfer artistiaid. I ddatblygu mewn ffyrdd eraill megis trwy raglenni penodol e.e. gwneud printiau, cerflunwaith. Yn sgil gwaith yr artistiaid preswyl, i anelu ^ at ddatblygu ambell i yl yn y dyfodol (real a rhithwir), mentora a chydweithredu.

Bu’r oriel ac ymweliadau gan artistiaid yn rhoi i mi ddealltwriaeth ddyfnach o le yr ydwyf mewn termau datblygiad proffesiynol a lle ‘rwyf yn dymuno mynd. 23


Lleolir tref


(poblogaeth tua 25,000) ar Fae Ceredigion, gyda'r môr a thirwedd hyfryd Cymru o'i chwmpas. Er ei bod yn dref fechan ac yn gymharol anghysbell, mae'n cynnig llawer o gyfleusterau ac mae'n gartref i sefydliadau megis Prifysgol Aberystwyth, Llyfrgell Genedlaethol Cymru, Archif Sgrîn a Sain Genedlaethol Cymru, Y Comisiwn Brenhinol ar Gofebau Hynafol ac Hanesyddol Cymru ymysg mudiadau eraill sydd wedi darparu ffynonellau ffrwythlon i rai o'r artistiaid preswyl, gan gynnig dewis gwych o arbinegedd a gwybodaeth i'r sawl sydd am ei dilyn i fyny. “Mae'r theorïau diweddaraf ar ddatblygiad economaidd, er enghraifft theori Manuel Castells, yn pwysleisio pwysigrwydd lle, diwylliant ac hunaniaeth yng nghyd-destun yr economi. Mae Canolfan y Celfyddydau Aberystwyth yn darparu ar yr un llaw swyddi ac incwm yn y rhanbarth ac ar y llaw arall gweithgareddau a pherfformiadau celf o ansawdd uchel a gofod diwylliannol sy'n amddiffyn ac yn datblygu'r ganolfan fel lle unigryw yn yr ardal.” Astudiaeth Effaith Economaidd, Ysgol Fusnes Caerdydd 2004


'Roeddwn wrth fy modd efo Aberystwyth a Chymru."


Canolfan y Celfyddydau Aberystwyth yn ganolfan gelf flaenllaw; y

"Bu staff y Ganolfan ...

ganolfan fwyaf a phrysuraf yng Nghymru, yn

yn mynd allan o'u ffordd

cynnwys 2 oriel, theatr, neuadd gyngerdd, sinema a llawer mwy, gyda rhaglen helaeth o weithgareddau a digwyddiadau ar draws yr holl ffurfiau celf yn ogystal â rhaglen addysg lewyrchus ym maes y celfyddydau cymunedol. Yn 2000, cwblhawyd prosiect ail-

i helpu efo unrhyw broblem dechnegol, neu

ddatblygiad gwerth £4.3 miliwn gyda nawdd yn bennaf oddi wrth y Loteri Genedlethol ac erbyn hyn mae gan y Ganolfan gyfleusterau sydd heb eu hail ledled y DU. Fe'i cydnabyddir fel canolfan genedlaethol ar gyfer datblygu'r celfyddydau ac fe'i

efo darparu deunyddiau hyrwyddo ayyb."

disgrifir fel 'banerlong genedlaethol y celfyddydau.' Mae'n adran o Brifysgol Aberystwyth a chroesewir dros 700,000 o ymwelwyr trwy'r drysau bob blwyddyn.


Dylunwyd Y Stiwdios Creadigol lle mae'r artistiaid preswyl yn gweithio gan gwmni blaenllaw Thomas Heatherwick a noddwyd y gwaith adeiladu gan Asiantaeth Ddatblygu Cymru a Chyngor Celfyddydau Cymru. Gyda'u gorffeniad dur-gloyw crychlyd, maent yn anghyffredin iawn o'r tu allan ond tu mewn maent yn ymarferol, yn addas ar gyfer yr anabl ac yn gwbl hyblyg. Gosodir y stiwdios ar les dymor-hir i artistiaid a busnesau creadigol, ar wah창n i'r tair a glustnodir ar gyfer yr artistiaid preswyl. Cafwyd nawdd hael ar gyfer yr artistiaid preswyl hyd yma gan Sefydliad Esmee Fairbairn - ac ni fyddai'r rhaglen wedi'i lansio o gwbl heb gefnogaeth sylweddol y sefydliad hwnnw. Noddwyd y prosiect hefyd gan Sefydliad Garfield Weston; Celfyddydau Rhyngwladol Cymru, Sefydliad Laura Ashley, Meduse Quebec, Stiwdio Gelf y Ffindir, Umbrella Arts Awstralia a Sefydliad Charles Wallace (Pacistan). Mae Canolfan y Celfyddydau yn darparu rhagor o gefnogaeth ariannol ac ymarferol.


"Roedd y cyfleusterau'n wych ac 'roedd pawb y bu i mi gyfarfod 창 nhw yn ystod fy nghyfnod yn y stiwdio yn hynod gyfeillgar ac yn barod iawn i helpu."

"It wakes up the rest of Wales!"

Elen Bonner Elen Bonner's work questions the current cultural geography of rural Wales using as content the customs she witnesses in order to understand her own identity and that of those around her. By using text, poetry and drama alongside film and installation, her work questions who is most powerful in assigning a place its character and values. Is it the inhabitants themselves who are ultimately responsible for their own cultural demarcation; or could it be the outside world and its projections that are most influential in determining how Wales is understood? The film which resulted from Elen's residency at Aberystwyth won the Ifor Davies Award at the National Eisteddfod for Wales and has been exhibited extensively. Elen Bonner lives and work in Ruthin, Wales, where she is currently Education Officer at Ruthin Craft Centre.


Mae gwaith Elen Bonner yn cwestiynu daearyddiaeth ddiwylliannol bresennol y Gymru wledig - yn defnyddio fel cynnwys yr arferion y mae hi'n dyst iddynt - er mwyn deall ei hunaniaeth ei hun a hunaniaeth y sawl o'i chwmpas. Trwy ddefnyddio testun, barddoniaeth a drama ochr yn ochr 창 ffilm a gosodwaith, mae ei gwaith yn gofyn pwy yw'r mwyaf pwerus wrth roi i le ei gymeriad a'i werthoedd. Ai'r trigolion eu hunain sy'n gyfrifol yn y pendraw am eu diffiniad diwylliannol nhw eu hunain; neu a yw'n bosibl mai'r byd tu allan a'i estyniadau sydd mwyaf dylanwadol wrth ddiffinio sut mae Cymru yn cael ei deall? Bu'r ffilm a wnaethpwyd gan Elen yn ystod ei chyfnod preswyl yn Aberystwyth yn ennill Gwobr Ifor Davies yn yr Eisteddfod Genedlaethol ac mae wedi cael ei harddangos yn eang. Mae Elen Bonner yn byw ac yn gweithio yn Rhuthun lle mae hi ar hyn o bryd yn Swyddog Addysg yng Nghanolfan Grefft Rhuthun.

"it only goes to show what can be achieved when given the creative time and space required to make new work. The film that resulted from the residency won the Ifor Davies Award at the National Eisteddfod for Wales . It has been exhibited extensively and is also held in the National Screen and Sound Archive."

Claudia Borgna “My artificial temporary landscapes are the material result of an ongoing observation, questioning as to how the man made and the natural realms interact with one another and come to create new, ephemeral orders. Plastic bags have become my main medium; they epitomize the perfect and quintessential discarded object. To me, plastic bags are symbolic embryos that contain our lifestyles and are also the vessels that take them forward in their journey. Their contradictory qualities mirror the neurotic course of our life: plastic bags are in-fact both worthless and useful, disposable and recyclable, flimsy and strong. I like to lure the viewers into a virtual extension of modern life that substitutes the old idealised concept of nature and landscape with a romanticised contemporary one. A dreamlike floating vision: drifting from the tangible to the intangible.” During her residency at Aberystwyth Claudia made new film work and sculpture which has been shown in the USA. WWW.CLAUDIABORGNA.KEEPFREE.DE


“Mae fy nhirweddau artiffisial dros-dro yn ganlyniad i broses o wylio, sy'n cwestiynu sut mae'r hyn a wnaethpwyd gan ddyn a'r naturiol yn cydymweithio er mwyn creu trefnau effemeral newydd. Bagiau plastig yw fy mhrif gyfrwng; maent yn cynrychioli'n berffaith yr hyn sydd wedi cael ei fwrw o'r neilltu. I mi, mae'r bag plastig yn symbol o'n ffordd o fyw ac hefyd yn cynrychioli'r cyfrwng sy'n ein cludo ar hyd y daith trwy fywyd. Mae eu nodweddion gwrthgyferbyniol yn adlewyrchu cwrs niwrotig ein bywyd: mae bagiau plastig ar yr un amser yn ddi-werth ac yn ddefnyddiol, gellir eu taflu neu eu hailgylchu, maent yn fregus ac yn gryf. 'Rwy'n mwynhau denu'r gwyliwr i mewn i estyniad rhithwir o fywyd modern sy'n gosod cysyniad cyfoes, rhamantaidd yn lle'r hen gysyniad idealistig o natur a thirwedd. Gweledigaeth arnofiol freuddwydiol: yn drifftio o'r cyffyrddadwy i'r anghyffyrddadwy.”

"I see residencies as particularly precious opportunities to experiment and take new risks in a supportive environment. They are also a vital source of inspiration and a way to inform my work through new landscapes and people."

Zoe Childerley Zoe Childerley's lens-based work explores new environments. It is developed by interaction with different communities and inspired by the discovery of intertwining and lost histories. Her photography also examines our relationship with the natural world, our imagination and the power of narrative; creating otherworldly images inspired by folk tales from around the world, crossing cultures and generations. She has continued with the work she began in Wales, looking at the way in which myth and story are memorialised in Welsh culture; the project will be exhibited in Aberystwyth Arts Centre in late 2012. Zoe Childerley has exhibited nationally and internationally and undertaken numerous commissions and residencies, working in the Caribbean, the Middle East, South East Asia, the US and across the UK. She is currently a lecturer in Photography and Video at De Montfort University.


Mae gwaith Zoe Childerley, sy'n seiliedig ar lens, yn archwilio amylcheddau newydd. Datblygir y gwaith trwy gydymweithio gyda gwahanol gymunedau ac fe'i ysbrydolir gan ddarganfod hanesion plethol a cholledig. Mae ei ffotograffiaeth hefyd yn archwilio'n perthynas gyda'r byd naturiol, ^ ein dychymyg a phwer naratif; yn creu delweddau arall-fydol a ysbrydolwyd gan straeon gwerin o bob rhan o'r byd, yn torri ar draws diwylliannau a chenedlaethau. Bu Zoe Childerley yn arddangos ei gwaith yn genedlaethol ac yn rhyngwladol ac mae wedi ymgymryd â llawer o gomisiynau a chyfnodau preswyl, yn gweithio yn y CaribÎ, Y Dwyrain Canol, De Ddwyrain Asia, yr UD a ledled y DU. Ar hyd o bryd mae'n darlithio mewn Ffotograffiaeth a Fideo ym Mhrifysgol De Montfort.

"Residencies have provided invaluable opportunity to spend time developing my practice when it is difficult to find financial and professional support as an artist. The Aberystwyth residency led to productive collaboration with other artists both on the programme and locally."


Priya Chohan “My practice grows organically out of a playful and intense experimentation with material. I create process-intensive works, building up delicate and often ephemeral surfaces. Graphite has become a core material to my practice, both physically and conceptually. My non-image based work remains highly descriptive; moon-like surfaces pulsate next to scratchy grounds and traditional techniques are implemented to unpredictable effect. I concurrently work on several ideas in the studio and so, as a result, the works inform each other and relationships develop between them: visually, through organic marks and the works' physicality, as well as in the way they relate to my ideas about mark-making and the expanded idea of sculpture as drawing. I make works, which, as individual objects are small and intimate - together they create a rich, dense assemblage.” Priya Chohan's works have been included in the exhibition ' 5' at Aberystwyth Arts Centre in 2010; the catalogue can be viewed on the Arts Centre;'s website. Priya is currently teaching in London and working towards an exhibition at Parfitt Gallery, Croydon. 36

“Mae f'ymarfer yn tyfu mewn modd organig allan o arbrofi chwareus a dwys gyda deunyddiau. 'Rwy'n creu gweithiau trwy brosesu dwys, yn adeiladu darnau cain, effemeral. Graffit yw prif ddeunydd f'ymarfer, yn gorfforol ac yn gysyniadol. Mae'r gwaith nad yw'n seiliedig ar ddelweddau, yn ddisgrifiadol; mae arwynebau llyfn yn ymddangos ochr yn ochr â gofod craflyd a defnyddir technegau traddodiadol i gyflawni effeithiau annisgwyl. Yn y stiwdio 'rwy'n gweithio ar nifer o syniadau ar yr un pryd ac felly, mewn canlyniad, mae'r gweithiau yn effeithio ar ei gilydd ac mae perthnasau yn datblygu rhyngddynt: yn weledol, trwy farciau organig a chorfforoldeb y gwaith, yn ogystal â'r ffordd y maent yn adlewyrchu fy syniadau i ynglyn â gwneud marciau a'r syniad estyniedig o gerflun fel arlunio. 'Rwy'n creu gweithiau sydd, fel darnau unigol, yn fach ac yn ddirgel - efo'i gilydd maent yn ffurfio cydosodiad dwys, cyfoethog.” Mae Prtiya Chohan yn darlithio yn Llundain ar hyn o bryd ac yn gweithio tuag at arddangosfa yn Oriel Parfitt, Croydon.

"Aberystwyth had a significant impact on my practice...and I'm still working on ideas that were planted whilst there. It was an inspiring place to be."

Ralph Colmar Ralph Colmar is a film and animation artist who specialises in working with artificial light and long exposure photography. He started experimenting with nocturnal long exposure images in the 1980s; by 1997 he had completed an M.A. in European Fine Art and was creating site specific installations featuring long exposure photographs of nocturnal landscapes, or 'Lightscapes'. He also developed a technique of drawing with light, using a hand held torch, which he used to great effect in several films. During his stay in Aberystwyth, he created a film animation of Rutland Boughton's opera 'The Immortal Hour', using light drawing; this has become one of his four mostscreened works. This work was included in the exhibition ' 5' at Aberystwyth Arts Centre in 2010; the catalogue can be viewed on the Arts Centre's website.


Mae Ralph Colmar yn artist animeiddiad a ffilm sy'n arbenigo mewn gweithio gyda golau artiffisial a ffotograffiaeth hirddadleniad. Dechreuodd arbrofi gyda delweddau hir-ddadleniad nosol yn y 1980au; erbyn1997 'roedd wedi cwblhau M.A. mewn Celfyddyd Gain Ewropeaidd ac 'roedd yn creu gosodweithiau saflepenodol yn nodweddu ffotograffau hirddadleniad o dirweddau nosol, neu 'Olauluniau'. Hefyd datblygodd dechneg o arlunio gyda golau, yn defnyddio torch yn ei law, a ddefnyddiwyd yn hynod effeithiol mewn nifer o ffilmiau. Yn ystod ei arhosiad yn Aberystwyth, cynhyrchodd animeiddiad o opera Rutland Boughton 'The Immortal Hour', yn defnyddio arlunio gyda golau; mae'r ffilm hon wedi'i harddangos yn gyhoeddus sawl tro ers hynny.

" I had a fabulous time..."

Matthew Cowan “My practice is in the realm of traditional British and European customs. I make works that are photographs, videos, installations and performances, which play with the strangeness of long established folk customs in a modern world. These works can be viewed as mock folk performances in themselves, playing with the elements of folk rituals that give people a link to the past. In contemporary European societies, people have a peculiar relationship with their folk traditions that is part uneasiness about their past, and part fascination with spectacle and long established ritual. At Aberystwyth I worked on a performance piece inspired by the tales of the devil in Wales, described by the eighteenth century clergyman Edmund Jones, as well as some new portraits involving Welsh folk costume.”

“Mae f'ymarfer yn digwydd ym maes arferion Prydeinig ac Ewropeaidd traddodiadol. 'Rwy'n creu gweithiau sydd yn ffotograffau, fideos, gosodweithiau a pherfformiadau, sy'n chwarae gyda dieithrwch arferion gwerin hir-sefydledig mewn byd modern. Gellir ystyried y gweithiau hyn fel perfformiadau gwerin ffug, sy'n chwarae gyda'r elfennau o ddefodau gwerin sy'n rhoi i bobl gysylltiad gyda'r gorffennol. Mewn cymdeithas Ewropeaidd gyfoes, mae gan bobl berthynas rhyfedd gyda'u traddodiadau gwerin sy'n rhannol yn anesmwythder ynglyn â'u gorffennol ac yn rhannol yn wir ddiddordeb yn y defodau hir-sefydledig hyn. Yn Aberystwyth bum yn gweithio ar ddarn perfformio a ysbrydolwyd gan straeon am y diafol yng Nghymru, a ddisgrifiwyd gan y clerigwr o'r ddeunawfed ganrif Edmund Jones, yn ogystal â nifer o bortreadau newydd yn seiliedig ar wisgoedd gwerin Cymreig.”

"...the period of time allocated at Aberystwyth for simply getting on with your practice without the thought of a specific deadline or project outcome in mind was very precious and rare. It allows you to experiment in ways that are very important for growing your approach to new work, and also to take notice of all the other artists working around you."


Dave Cushley Dave Cushley was trained in art at Manchester, Falmouth and Cardiff. Primarily a sculptor both in training and practice, he also works with installation, performance, and drawing. He describes his work as 'an irreverent fusion of the absurd, post-structuralism, and an unhealthy obsession with the nature of craft ' and indeed an examination of the nature of making or craft is usually central to his work. He experiments with materials which are often recycled, with techniques and with their meanings and associations; allowing both artist and viewer free play in creating anew. His work in Aberystwyth resulted in a group of multi media sculptures. Dave Cushley has recently completed a residency and solo exhibition in Madrid; he lives and works in Cardiff.


Derbyniodd Dave Cushley ei hyfforddiant celf ym Manceinion, Falmouth a Chaerdydd. Yn gweithio'n bennaf fel cerfluniwr, mae ef hefyd yn gweithio gyda gosodwaith, perfformiad ac arlunio. Disgrifia ei waith fel 'cyfuniad amharchus o'r gwirion, 么l-strwythuraeth, ac obsesiwn afiach gyda natur crefft' ac yn wir yn aml iawn y mae archwiliad o natur creu crefft yn ganolog i'w waith. Mae'n arbrofi gyda deunyddiau sydd yn aml wedi cael eu hailgylchu; gyda thechnegau a'u hystyron a 'u cysylltiadau; yn caniatau i'r artist a'r gwyliwr ryddid i greu o'r newydd. Mae Dave Cushley wedi cwblhau'n ddiweddar gyfnod preswyl ac arddangosfa unigol ym Madrid; mae'n byw ac yn gweithio yng Nghaerdydd.

"The residency was great for me. It gave me the chance I needed to get going, and was the first time I'd had where I was able to focus on developing my work since university."

David Cushway David Cushway's practice draws on craft techniques, drawing, performance, film and installation. His use of clay and his understanding of its place in human history renders it a particularly potent medium for his expressive works. During his Aberystwyth residency he concentrated on drawing. “My work is underpinned by a fascination with clay as a medium; the history of clay use is the history of humanity; it is the material that binds us to the earth that we inhabit. The constant cycle of life and death is a recurring theme within my practice, and the use of my own body within a figurative narrative reflects this... My practice operates in the arenas between art and craft and is often a direct comment upon the difference and indeed common ground between the two. “ David Cushway lives and works in Cardiff

Mae ymarfer David Cushway yn tynnu ar dechnegau crefft, arlunio, perfformiad, ffilm a gosodwaith. Mae ei ddefnydd o glai a'i ddealltwriaeth o arwyddocad clai yn hanes dyn yn ei wneud yn gyfrwng arbennig o gryf ar gyfer ei waith creadigol. “Mae fy niddordeb mewn clai fel cyfrwng yn ganolog i'm gwaith; hanes defnyddio clai yw hanes y bod dynol; clai yw'r deunydd sy'n ein clymu i'r byd yr ydym yn byw ynddo. Mae cylch cyson bywyd a marwolaeth yn thema gyfarwydd o fewn f'ymarfer, ac mae defnyddio fy nghorff fy hun o fewn naratif ffigurol yn adlewyrchu hyn ... Mae f'ymarfer yn gweithio yn yr arena rhwng celf a chrefft ac yn aml mae fy ngwaith yn gwneud sylwadau uniongyrchol ar y gwahaniaeth, ac hefyd y tir cyffredin, rhwng y ddau. “ Mae David Cushway yn byw ac yn gweithio yng Nghaerdydd.

"in terms of residences, I have completed many over the years and all have them have marked a sea change in my practice, it may be a cliché but just simply to have the time and space to work as an artist in a supportive environment is incredibly important, and if not for the residency at Aber I would not have been able to complete the two works ..."


Hannah Downing Hannah Downing is an artist from Wales whose practice includes painting, drawing and collage, centred on an interest in pictorial realism. “I make work that explores the relationship between pictorial convention and that which we consider to be reality. I consider my subject matter to be the language of things like the out of focus bits in a photograph; the elevated viewpoint of a CCTV image; perspective and panoramas.” Hannah spent her time in Aberystwyth developing her painting practice. Having recently worked as part of the invigilation team for Wales' pavilion at the Venice Biennale, Hannah is making works from imagery and observations gathered there. She currently lives and works in Swansea.


Artist o Gymru yw Hannah Downing ac mae ei hymarfer yn cynnwys paentio, arlunio a gludwaith sy'n seiliedig ar ddiddordeb mewn realaeth ddarluniadol. “'Rwy'n creu gwaith sy'n archwilio'r perthynas rhwng confensiwn darluniadol a'r hyn a ystyrir gennym i fod yn realiti. 'Rwy'n gweithio gyda'r anghyffredin fel y darnau sydd allan o ffocws mewn ffotograff; y safbwynt aruchel mewn delwedd CCTV; perspectif a phanoramâu.” Bu Hannah yn gweithio'n ddiweddar fel aelod o'r tîm goruwchwylio ar gyfer pafiliwn Cymru yn y Biennale yn Fenis, ac erbyn hyn mae'n creu gweithiau'n seiliedig ar y delweddau a'r wybodaeth a gasglwyd yno. Ar hyn o bryd mae'n byw ac yn gweithio yn Abertawe.

"Not only was it an intense period of concentration to explore and develop new ideas, but it also became a time when I thought a lot about what being an artist meant to me."

Fern Thomas; Owen Griffiths; Adele Vye: FAO FAO was a three person collaborative group, founded in Swansea by graduates from the Fine Art course at Oxford Brookes University: Fern Thomas, Adele Vye and Owen Griffiths. Although their individual practices differed, their eclectic collaboration focused on interactive and participatory art, often with an emphasis on environmental concerns. Their work took the form of interactive actions and live events, to film through to drawing and photographically documented actions. Their work in Aberystwyth resulted in film and installation. Since their residency, each has been actively exhibiting and researching; Owen Griffiths received an MA from Wimbledon College of Art in 2010; Fern Thomas is currently studying for an MA Interdisciplinary Arts at Oxford Brookes University, Oxford.


^ o dri artist yn gweithio gyda'i gilydd Grwp oedd FAO, a sefydlwyd yn Abertawe gan raddedigion o'r cwrs Celfyddyd Gain yn Mhrifysgol Brookes Rhydychen: Fern Thomas, Adele Vye ac Owen Griffiths. Er bod eu hymarfer unigol yn gwahaniaethu, bu eu cydweithrediad eclectig yn ffocysu ar gelf ryngweithiol a chyfranogol, yn aml gyda'r pwyslais ar them창u amgylcheddol. 'Roedd eu gwaith ar ffurf gweithrediadau rhyngweithiol a gweithgareddau byw, gan gynnwys ffilm, arlunio a gweithrediadau a gofnodwyd trwy ffotograffiaeth. Ers eu cyfnod preswyl, bu'r tri yn arddangos ac yn ymchwilio; derbyniodd Owen Griffiths radd MA oddi wrth Goleg Celf Wimbledon yn 2010; mae Fern Thomas ar hyn o bryd yn astudio ar gyfer gradd MA mewn Celfyddydau Rhyngddisgyblaethol ym Mhrifysgol Brookes Rhydychen.

" to develop ideas and experiment without the pressure of creating a finished piece."

Dafydd Fortt Dafydd Fortt is drawn to the act of walking to navigate both real and imagined places. The source of his work springs and radiates from his journeys through his native Welsh landscape; his walks around mid Wales during his residency resulted in large scale paintings. For Dafydd the principles of Haiku are instructive and his work aims to be simple and limited. Like one step after another and armed with the symmetries in countless natural structures he slowly builds something greater than its individual parts, something with meaning and purpose. The work functions less as an art object and more as an articulation of space, bringing the outdoors in; it gives the gallery an energy force and in true Huckleberry spirit reaches back to the romance of the natural and the allure of the moment. Dafydd Fortt lives and works in Cardiff, Wales.


Mae Dafydd Fortt yn mwynhau cerdded er mwyn cyrraedd llefydd real a rhai dychmygol. Mae'r ysbrydoliaeth ar gyfer ei waith yn hannu o'i deithiau cerdded trwy'r dirwedd Gymreig gynhenid sydd mor gyfarwydd iddo. I Dafydd mae egwyddorion Haiku yn addysgiadol ac mae ei waith yn anelu at fod yn syml ac yn gyfyng. Fel un cam ar ôl y llall ac wedi'i arfogi gyda'r cymesureddau mewn strwythurau naturiol di-rif mae'n adeiladu'n ara' deg rhywbeth sy'n fwy na'i rannau unigol, rhywbeth gydag ystyr a phwrpas. Mae'r gwaith yn gweithio llai fel darn o gelf a mwy fel mynegiad o ofod, yn dod â'r tu allan i mewn; mae'n rhoi teimlad o egni i'r oriel ac yng ngwir ysbryd Huckleberry mae'n ymestyn yn ôl i ramant y naturiol ac atyniad y foment. Mae Dafydd Fortt yn byw ac yn gweithio yng Nghaerdydd.

"Studios are great! The space is accessible, the light is good and it’s a nice space to spend time in."

Evelyn Grant Evelyn Grant is a graduate of both the University of Calgary, and Alberta College of Art fine arts programmes and she has been a practicing artist since 1976. Although she works primarily in the ceramic medium, she has also worked on several large-scale mixed media pieces Her ceramic work is created using a combination of hand building techniques and slip cast forms, with a strong focus on the narrative, while working within the parameters of functional ceramic objects. . She often casts found objects to incorporate into her work, and includes vintage imagery; the markets and museums which she visited in the UK were a great source of materials and inspiration.


Graddiodd Evelyn Grant o Brifysgol Calgary a rhaglen gelfyddydau cain Coleg Celf Alberta. Mae hi wedi bod yn gweithio fel artist ers 1976. Er y bu'n gweithio'n bennaf trwy gyfrwng serameg, mae hi wedi gweithio hefyd ar nifer o ddarnau cyfrwng cymysg ar raddfa fawr. Cyflawnir ei gwaith serameg trwy ddefnyddio cyfuniad o dechnegau adeiladu 창'r llaw a ffurfiau cast slip, gyda ffocws cryf ar y naratif, tra'n gweithio o fewn ffiniau darnau serameg ymarferol. Mae hi'n aml yn castio eitemau naturiol i'w cynnwys yn ei gwaith, ac mae'n defnyddio delweddau o'r gorffennol. 'Roedd y marchnadoedd a'r amgueddfeydd y bu'n ymweld 창 nhw yn y DU yn ffynhonnell wych o ddeunyddiau ac ysbrydoliaeth.

Rabab Ghazoul Rabab Ghazoul is a visual artist who draws on a range of media to explore the nuances of social relations, and the shifting nature of personal and political affiliation. Working with video, installation, site and text as well as interventions within the public realm, her work often takes the form of process-based investigations into community, language, and identity, but often at their point of fragmentation or transition. Born and part raised in the Middle East, her experience of dual cultures informs her approach as a social observer and commentator, and underpins her ongoing interest in our negotiations and constructions of the political. She is currently composing a six-part choral work to mark the10th anniversary 2013 of the Iraq invasion, and is also developing a new video work which seeks to restage and film, with members of the public, extracts from the Chilcot Inquiry testmonials. She is also applying for a Leverhulme award to further the research begun during her Aberystwyth residency. Born in Mosul, Iraq, Rabab Ghazoul lives and works in Cardiff, Wales.


Artist gweledol yw Rabab Ghazoul sy'n tynnu ar amrediad o gyfryngau i archwilio arlliwiau perthnasau cymdeithasol a natur newidiol cysylltiadau personol a gwleidyddol. Yn gweithio gyda fideo, gosodwaith, safle a thestun yn ogystal ag ymyriadau o fewn y byd cyhoeddus, mae ei gwaith yn aml yn cymryd ffurf ymchwiliadau i mewn i gymuned, iaith ac hunaniaeth. Wedi'i geni a'i magu'n rhannol yn y Dwyrain Canol mae ei phrofiad o wahanol ddiwylliannau yn dylanwadu ar ei r么l fel gwylwraig a sylwebydd cymdeithasol, ac mae'n allweddol i'w diddordeb mewn materion a thrafodaethau gwleidyddol. Ar hyn o bryd mae'n creu gwaith corawl mewn chwe darn i ddynodi'r 10fed benblwydd yn 2013 o'r ymosodiad ar Irac, ac hefyd mae'n datblygu gwaith fideo newydd sy'n ceisio ail-lwyfannu a ffilmio, gydag aelodau o'r cyhoedd, darnau allan o dystlythyron Ymchwiliad Chilcot. Wedi'i geni ym Mosul, Irac, mae Rabab Ghazoul yn byw ac yn gweithio yng Nghaerdydd.

"Residencies can be great opportunities to reflect and explore one's practice without the pressure to produce finished work - I feel I was really given free reign to do that at Aberystwyth. I ended up making work I couldn't possibly have made without being in that particular place at that time, and that's a wonderful benefit - to really open up your practice to the unexpected."

Haider Ali Haider Ali is an artist from Pakistan, who spent three months in Aberystwyth thanks to a grant from Charles Wallace Trust. During his residency in a culture very different to any he had visited before, he made animated films on political themes. “I was brought up in Lahore's inner or old city, known for among other things, its celebration of Muharram. One of the rituals of Muharram is for men to beat themselves with knives. As a child I used to dream of the day I would become a part of the community, earning the respect of my elders. My work is inquisitive; through it, I try to make sense of the world around me….”


Artist o Bacistan yw Haider Ali, a dreuliodd dri mis yn Aberystwyth yn sgil cymorthdal oddi wrth Ymddiriedolaeth Charles Wallace. “Cefais fy magu yn hen ddinas, neu ddinas fewnol Lahore, sy'n adnabyddus, ymysg pethau eraill, am ei dathliad o Muharram. Un o ddefodau Muharram yw bod y dynion yn curo eu hunain gyda chyllyll. Fel plentyn 'roeddwn yn breuddwydio am y diwrnod y buaswn yn dod yn rhan o'r gymuned, yn ennill parch fy hynafiaid. Mae fy ngwaith yn chwilfrydig; trwyddo, 'rwy'n ceisio gwneud synnwyr o'r byd o'm cwmpas … “

Lucy Harvey Lucy Harvey regards herself as a 'conceptual metalsmith', using craft processes and assemblage to make jewellery and small scale sculpture. By changing or subverting the usual function of an object, she creates ambiguous sculptures which explore our anxieties and desires. “ (I am an) artist, museum geek and jeweller. I make disconcerting things in metal, collect old things...” Lucy Harvey's works have been included in the exhibition ' 5' at Aberystwyth Arts Centre in 2010; the catalogue can be viewed on the Arts Centre;'s website. She was trained in Silversmithing and Jewellery in Manchester and Birmingham; she exhibits regularly and is currently teaching at Manchester Art School and Lincoln College of Art and design.


Mae Lucy Harvey yn gweld ei hun fel 'gweithwraig gysyniadol mewn metel', yn defnyddio prosesau a thechnegau crefft i greu gemwaith a cherfluniau ar raddfa fach. Trwy newid neu addasu defnydd arferol eitem benodol, mae hi'n creu cerfluniau amwys sy'n archwilio ein pryderon a'n dyheuadau. “ ('Rwy'n) artist, yn hoff o amgueddfeydd ac yn creu gemwaith. 'Rwy'n creu pethau annisgwyl mewn metel, yn casglu hen bethau ...” Hyfforddwyd Lucy Harvey mewn Gwaith Arian a Gemwaith ym Manceinion a Birmingham; mae'n arddangos ei gwaith yn rheolaidd ac yn darlithio ar hyn o bryd yn Ysgol Gelf Manceinion a Choleg Celf a Dylunio Lincoln.

"I feel I am in a much stronger position in my creative career thanks to the residency."

Michel Huneault Michel Huneault is a photographer whose work as an international development expert was often in conflict areas. In the midst of dramatic political events he was nevertheless continually struck by mundane moments in the troubled areas he visited; the beautiful, stoic moments of everyday life which constitute human history. In 2004, he was apprenticed to Gilles Peress at Magnum Photo in New York City and this became an important turning point for his photographic work, which he now pursues professionallyseeking the extraordinary in everyday moments of life, particularly in challenging circumstances Michel Huneault had a solo exhibition 'Histoires Normales' at Aberystwyth Arts Centre in 2011. He lives and works in Canada.


Ffotograffydd yw Michel Huneault ac mae ei waith fel arbenigwr mewn datblygiad rhyngwladol wedi mynd ag ef i lawer o lefydd lle ceir gwrthdaro a brwydro. Ac eto yng nghanol digwyddiadau gwleidyddol dramatig, cafodd ei daro'n gyson gan fomentau dinod er gwaetha'r anghydfod; y momentau stoic, hyfryd hynny mewn bywyd bob-dydd sydd mor bwysig yn hanes y bod dynol. Yn 2004, cafodd brentisiaeth gyda Gilles Peress, Magnum Photo yn Ninas Efrog Newydd ac 'roedd hyn yn drobwynt pwysig o safbwynt ei waith ffotograffig. Erbyn hyn mae'n gweithio fel ffotograffydd proffesiynol - yn chwilio am yr hyn sy'n eithriadol mewn momentau bob-dydd bywyd, yn arbennig o dan amgylchiadau heriol. Mae MichelHuneault yn byw ac yn gweithio yng Nghanada.

"I truly appreciated the informal relationship with the centre’s staff and leadership, a perceived genuine commitment to both acknowledged established and emerging artists..."

Richard Ibghy Richard Ibghy's work uses the allusive and deconstructive features of language 'to interrogate knowledge-formations, institutional contexts, and social and political entanglements.' His work typically exhibits a minimalist approach to form and construction of the art object. His recent projects explore how desire and belief influence economic discourse and practices, sustain current economies, but also carry the potential for inciting new forms of 'doing economy'. During his residency in Aberystwyth he worked on Sceptics Will Be Entertained but Perhaps Unimpressed, a multi-channel video installation exploring the possibilities of economic observation, which incorporates original video footage filmed in and around Aberystwyth along with archival materials sourced in the National Library of Wales. Richard Ibghy lives and works in Canada; he often works collaboratively with artist Marilou Lemmens.


Mae gwaith Richard Ibghy yn defnyddio nodweddion awgrymiadol a dadadeiladol iaith 'er mwyn cwestiynu ffurfiannaugwybodaeth, cyd-destunau sefydliadol a dryswch cymdeithasol a gwleidyddol.' Fel arfer yn ei waith mae'n defnyddio technegau syml yng nghyd-destun ffurf ac adeiladwaith y gwrthrych.Bu ei brosiectau diweddar yn archwilio sut mae dyhead a chred yn dylanwadu ar drafodaethau ac ymarferion economaidd, yn cynnal economiau cyfoes, ond hefyd yn meddu ar y potensial i symbylu ffurfiau newydd o 'wneud economi'. Yn ystod ei gyfnod preswyl yn Aberystwyth gweithiodd ar Sceptics Will Be Entertained but Perhaps Unimpressed, gosodwaith fideo aml-sianel yn archwilio posibiliadau sylwebaeth economaidd, sy'n cynnwys deunydd fideo gwreiddiol a gafodd ei ffilmio yn ardal Aberystwyth ynghyd 창 deunyddiau archifol y daethpwyd o hyd iddynt yn Llyfrgell Genedlaethol Cymru. Mae Richard Ibghy yn byw ac yn gweithio yng Nghanada; mae'n cydweithio'n aml gyda'r artist Marilou Lenmmens.

"I was able to conduct research with excellent facilities very close by National Library of Wales and the University Library."

Vicki Kerr Vicki Kerr is studying for a PhD in Fine Art at Goldsmiths University, London. Her recent work draws on her past experiences as an air traffic controller, in a project examining questions around airspace; using as a focus an aeroplane crash from the 1970s and the eruption of an Icelandic volcano in 2010. 'As an artist, I have a strong theoretical interest in the past event and its document. I am interested in the unregulated dispersal of images distributed through mass media and the way it converges upon empirically grounded monolithic systems that aspire towards comprehensive totality and stability through their own set of formal logics and structural parameters.' Vicki Kerr exhibited the work she began to work on during her residency in Wales at Aberystwyth Arts Centre in 2011. She was born in New Zealand; she now lives and works in London.


Mae Vicki Kerr yn astudio ar gyfer gradd PhD yn y Celfyddydau Cain ym Mhrifysgol Goldsmiths yn Llundain. Mae ei gwaith diweddar yn tynnu ar ei phrofiad blaenorol fel rheolwraig traffig maes awyr, mewn prosiect sy'n archwilio cwestiynau'n gysylltiedig 창 gofod awyr; yn defnyddio fel ffocws damwain awyren o'r 1970au a ffrwydriad llosgfynydd yng Ngwlad yr I창 yn 2010. 'Fel artist, y mae gennyf ddiddordeb damcaniaethol cryf mewn digwyddiadau'r gorffennol a'r proses o'u cofnodi. 'Rwy'n ymddiddori yn y ffordd y mae delweddau yn cael eu dosbarthu'n ddireol trwy'r cyfryngau a'r ffordd y mae hyn yn cydgyfeirio at systemau monolithig empiraidd sy'n anelu at gyflawni cyfanrwydd a sefydlogrwydd llwyr trwy eu set nhw o resymegau ffurfiol a pharamedrau strwythurol .' Ganwyd Vicki Kerr yn Seland Newydd; mae hi 'nawr yn byw ac yn gweithio yn Llundain.

"Very successful! Extremely helpful, kind and pleasant technicians and staff."

Sai Hua Kuan Sai Hua Kuan was born in Singapore and graduated from Slade School of Fine Art, London; he now lives and works both in the United Kingdom and Singapore. His art is realised in a diverse and often unconventional range of media, including installation, sculpture, film, photography and performance. Recent works include an interactive performance sculpture for an exhibition at Jendela, Esplanade Singapore, a tongue-in-cheek critique of the economic and productive relationship between animals and people; and a solo exhibition at Yavuz Fine Art, Singapore. “I play with materials, enjoying the process of transforming forms, shapes, or even smells and humidity. Form is a very important process in my idea gestation. I enjoy very much the ways in dismantling, deconstructing and reconstructing materials and objects, as my thoughts often come to me spontaneously during the playful process.”

Ganwyd Sai Hua Kuan yn Singapore a graddiodd o Ysgol Slade ar gyfer y Celfyddydau Cain yn Llundain; erbyn hyn mae'n byw ac yn gweithio yn y DU a Singapore. Mae ei ymarfer celf yn cynnwys amrediad eang, ac yn aml anghonfensiynol, o gyfryngau, megis gosodwaith, cerflunwaith, ffilm, ffotograffiaeth a pherfformiad. Ymysg ei waith diweddar oedd cerflunwaith perfformiad rhyngweithiol ar gyfer arddangosfa yn Jendela, Esplanade Singapore, dadansoddiad eironig o'r perthynas economaidd a chynhyrchiol rhwng anifeiliaid a phobl; ac arddangosfa solo yn Yavuz, Singapore. “'Rwy'n chwarae gyda deunyddiau, gan fwynhau'r proses o drawsffurfio ffurfiau, siapiau, neu hyd yn oed arogleuon a lleithder. Mae ffurf yn broses hynod bwysig wrth i mi ddatblygu fy syniadau. 'Rwyf wrth fy modd yn datgymalu, yn dadadeiladu ac yn ailadeiladu deunyddiau ac eitemau, gan fy mod yn aml yn cael syniadau newydd yn ystod y proses chwareus hwn.”

"I greatly appreciate the valuable and quality experience that the residency has provided to me. The period of quiet time has greatly facilitated me in developing my art practice and generating ideas. A group of ideas conceived in Aberystwyth has been just presented in a show..."


Riikka Makikoskela “The basis of my artistic working is cultural, but my approach is physical and material. Through my practice, I seek alternative ways of being, thinking and living in our society. My perspective is distinctly Scandinavian, and, specifically, that of a married woman who had children at a younger age than the national average. There are many agreed, cultural references in our day-to-day living, and art is one of these. Yet everything is in flux. The experience of living cannot be frozen into two dimensions. That's why I'm a sculptor. For me, both the choice of material and the ways in which it is manipulated are significant; both have cultural implications. As such, my use of media is wide-ranging from the traditional materials of sculpture to the basic substances of everyday life. Tactile engagement with these materials is paramount. I enjoy working by hand, responding to the bodily interaction as my pieces evolve.” Riikka Makikoskela produced several sculptural works during her Welsh residency, including some made from coloured liquorice laces. She lives and works in Finland. 68

“Mae sail fy ngwaith artistig yn ddiwylliannol, ond mae f'agwedd yn gorfforol ac yn faterol.Trwy f'ymarfer, 'rwy'n edrych am ffyrdd gwahanol o fodoli, meddwl a byw yn ein cymdeithas. Mae'm perspectif yn sicr yn Sgandinafaidd ac, yn benodol, yn perthyn i ddynes briod a gafodd blant yn iau na'r cyfartaledd gwladol. Mae 'na lawer o bethau diwylliannol yn ein bywyd dyddiol yr ydym yn gytun amdanynt a chelf yw un o'r rhain. Ac eto mae popeth yn newid. Ni ellir rhewi'r profiad o fyw mewn dau ddimensiwn. Dyna paham 'rwy'n gerflunwraig. I mi, mae'r dewis o ddeunydd a'r ffordd y mae'n cael ei drin, yn arwyddocaol; mae gan y ddau beth oblygiadau diwylliannol. O'r herwydd, mae fy nefnydd o gyfrwng yn eang - yn amrywio o ddeunyddiau traddodiadol cerflunwaith i hanfodion sylfaenol bywyd bob-dydd. Mae cyffwrdd y deunyddiau hyn yn holl-bwysig. 'Rwy'n mwynhau gweithio gyda'r llaw, yn ymateb i'r ymadwaith corfforol wrth i'r darnau ddatblygu.” Mae Riikka Makikoskela yn byw ac yn gweithio yn y Ffindir.

"I was able to experiment with new materials and media (clay and ceramics). I am very glad about the co-operation with Roger in Ceramic Workshop, he was so helpful."

Heather Phillipson Heather Phillipson works with moving image, sound, text and voice. Her current practice uses HD video in single-screen and live formats, the latter in conjunction with live voice-off. She exhibits nationally and internationally, and has received awards, commissions and residencies. In 2011, she showed work at the South London Gallery, Auto Italia LIVE, the ICA, the Serpentine Gallery, Hackney Film Festival (with LUX), Vitrine Gallery, Hollybush Gardens, Eastside Projects (Birmingham), KG52 (Stockholm) and g39 at Halle 14 (Leipzig). She is also an awardwinning poet, published by Faber and Faber in the Faber New Poets series. Her work was exhibited in Aberystwyth Arts Centre in 2011. The artist's current and forthcoming exhibitions and projects include 'Seeing in the Dark', CIRCA (Newcastle), 'An Observer's Guide to the Garden Marathon', Serpentine Gallery (London) and an exhibition at Flat Time House (London) in 2012. She has also been awarded a place on the LUX Associate Artists Programme 2011-12.


Mae Heather Phillipson yn gweithio gyda delweddau symudol, sain, testun a llais. Mae ei hymarfer presennol yn defnyddio fideo HD mewn fformat sgrÎn-sengl a fformat byw, yr ail mewn cysylltiad â llais byw. Mae hi'n arddangos ei gwaith yn genedlaethol ac yn rhyngwladol ac mae wedi derbyn gwobrau, comisiynau a chyfleodd preswyl. Yn 2011, dangosodd ei gwaith yn Oriel De Llundain, Auto Italia ^ LIVE, yr ICA, Oriel y Serpentine, Gwyl Ffilm Hackney (gyda LUX), Oriel Vitrine, Gerddi Hollybush, Prosiectau Eastside (Birmingham), KG52 (Stockholm) a g39 yn Halle 14 (Leipzig). Mae hi hefyd yn fardd llwyddiannus a chyhoeddwyd ei gwaith gan Faber a Faber yng nghyfres Beirdd Newydd Faber. Mae arddangosfeydd a phrosiectau presennol yr artist yn cynnwys 'Seeing in the Dark', CIRCA (Castellnewydd), 'An Observer's Guide to the Garden Marathon', Oriel y Serpentine (Llundain) ac arddangosfa yn Flat Time House (Llundain) yn 2012. Hefyd bu'n rhan o Raglen Artistiaid Cyswllt LUX 2011-12.

"The residency at Aberystwyth Arts Centre was, for me, a crucial breathing-space which enabled me to re-negotiate my approach and establish new points of departure for my work."

Ellie Rees Ellie Rees works in performance video, often exploring the contradictory ideas embedded in contemporary culture: Among the works she created while in Aberystwyth were 'Beyond Narcissus' and 'Pretty Eyed Pirate Smile'. “Through my work I aim to explore the contradictory attractions of emancipated female roles and the romantic dreams proposed by popular and traditional culture. The use of humour and irony as a subtext is an essential part of most of the work as I investigate what it means to be female and an artist. My work manifests as performance video, most often made in response to my immediate surroundings. I am interested in taking narratives - specific to a place and its culture (particularly romantic stories involving heroines), and creating performances inspired by themes from these narratives. “ Ellie Rees lives in London where she is currently an Associate Lecturer at Byam Shaw School of Art, Central St. Martins College of Art and Design. She has exhibited and performed internationally at galleries and museums including: Tate Modern, London, The Institute for Contemporary Art (ICA) London; El Museo de Arte Contemporaneo, Caracas,Venezuela, 72

Mae Ellie Rees yn gweithio ym maes fideo perfformio, yn archwilio'n aml y syniadau cyferbyniol sy'n bodoli mewn diwylliant cyfoes: “Trwy fy ngwaith anelaf at archwilio syniadau cyferbyniol megis rôl y fenyw rydd a'r breuddwydion rhamantus a bortreadir gan ddiwylliant poblogaidd a thraddodiadol. Mae'r defnydd o hiwmor ac eironi fel is-destun yn rhan hanfodol o'r rhan fwyaf o'r gwaith wrth i mi archwilio beth mae'n golygu i fod yn fenyw ac yn artist. Mae fy ngwaith yn cymryd ffurf fideo perfformio, a wneir rhan amlaf mewn ymateb i'r hyn sydd o'm cwmpas. 'Rwy'n ymddiddori mewn cymryd naratif - sy'n gysylltiedig â lle a'i ddiwylliant (yn arbennig straeon rhamantus sy'n cynnwys arwresau) , ac yn creu perfformidau sy'n cael eu hysbrydoli gan themâu o'r naratifau hyn.” Mae Ellie yn byw yn Llundain lle me hi ar hyn o bryd yn Ddarlithydd yn Ysgol Gelf Byam Shaw, Coleg Celf a Dylunio San Martin Canolog. Mae hi wedi arddangos a pherfformio'n rhyngwladol mewn orielau ac amgueddfeydd gan gynnwys: Y Tate Modern, Llundain, Yr Institiwt ar gyfer Celf Gyfoes (ICA) Llundain; El Museo de Arte Contemporaneo, Caracas,Venesuela,

Soozy Roberts Soozy Roberts uses performance, film and installation to explore the mysteries of every day life, often in a darkly humorous way. She uses her own body to address questions about femaleness and femininity, while acknowledging a wider environment saturated in provocative and glamorous female imagery. She grew up on a farm 'in the middle of nowhere Wales, milking cows, making silage....' and her work often gives a nostalgic nod towards the ideas of family, domesticity, sometimes Welshness. During her stay in Aberystwyth, and despite the challenges of having a young baby, Soozy Roberts created performances at different venues in town and in her Studio. She is currently living and performing regularly in Stroud, as well as curating performance arts events and running a young person's contemporary arts group at Stroud Valley Artspace. She also continues to work on interaction and outreach projects at Arnolfini, Bristol.


Mae Soozy Roberts yn defnyddio perfformiad, ffilm a gosodwaith i archwilio dirgelion bywyd bob dydd, yn aml mewn ffordd ddoniol-dywyll. Mae'n defnyddio'i chorff ei hun i godi cwestiynau am fenyweidd-dra a ffeminyddiaeth, tra'n cydnabod bodolaeth amgylchedd ehangach sy'n llawn delweddau benywaidd pryfoclyd a glamoraidd. Cafodd ei magu ar ffarm anghysbell yng Nghymru 'yn godro gwartheg, yn gwneud silwair ....' ac mae ei gwaith yn aml yn cyfeirio at syniadau ynglyn 창 theulu, bywyd cartref, weithiau Cymreictod. Ar hyn o bryd mae hi'n byw ac yn perfformio'n rheolaidd, yn ogystal 창 churadu gweithgareddau ym maes y ^ celfyddydau perfformio ac yn rhedeg grwp celf cyfoes ar gyfer pobl ifanc yn ardal Stroud. Mae hi hefyd yn dal i weithio ar prosectiau rhyngweithiol a chymunedol yn Arnolfini, Bryste.

"I was really pleased to have been given the opportunity and felt very lucky to undertake the residency."

Michelle Sank


Michelle Sank's photography reflects her intense interest in the human condition and to this end can be viewed as social documentary. Most of her work encompasses issues around social and cultural diversity. The project she completed during her residency in Aberystwyth, 'The Submerged', has been published in book form by Schilt. The Independent commented: 'Sank's work ...exists in a hinterland between landscape photography, portraiture and social documentary. "Sociological landscapes", she calls them; pictures about how people are products of their environment. (In the accompanying essay), Liz Wells considers Sank's evocative, "ordinary yet compulsive" pictures in terms of their narrative content."What brought the middle-aged woman in the yellow shalwar kameez ... to this part of the country? Why is one boy leaping over tufts of grass?" These mysteries are a part of the pleasure of The Submerged.' Michelle Sank is currently working on 2 projects - one around the death of her father and the other about a gypsy community. She was born in Cape Town, South Africa and has been living in England since the late 1980s.

Mae ffotograffau Michelle Sank yn adlewyrchu ei diddordeb dwys yn y cyflwr dynol a gellir eu hystyried felly fel dogfeniad cymdeithasol. Mae'r rhan fwyaf o'i gwaith yn gysylltiedig â themâu amrywioldeb cymdeithasol a diwylliannol. Cyhoeddwyd y prosiect a gwblhawyd ganddi yn ystod ei chyfnod preswyl yn Aberystwyth, 'The Submerged', ar ffurf llyfr gan Schilt. Yn ôl yr Independent: 'Mae gwaith Sank ... yn digwydd mewn lle rhwng ffotograffiaeth dirwedd, portreadaeth a dogfeniad cymdeithasol. Mae hi'n eu galw nhw'n “Dirluniau Cymdeithasegol"; lluniau am sut y mae amgylchedd yn dylanwadu ar bobl. (Yn y traethawd atodol), mae Liz Wells yn ystyried lluniau “cyffredin ac eto gorfodol” Sank mewn termau eu cynnwys naratif. "Paham y daeth y ddynes ganol-oed yn y shalwar kameez melyn i'r rhan yma o'r wlad? Pam ydi un bachgen yn neidio dros dalp o laswellt?” Mae'r dirgelion hyn yn rhan o bleser 'The Submerged.'” Mae Michelle Sank yn gweithio ar 2 brosiect ar hyn o bryd - un yn ymwneud â marwolaeth ei thad a'r llall am gymuned o sipsiwn. Fe'i ganwyd yn Cape Town, De Affrica a bu'n byw yn Lloegr ers y 1980au hwyr.

".. residencies are really important in providing artists with the time and space to develop new work, something that is often difficult to balance in one's normal daily life."

Pamela Schilderman Pamela Schilderman's practice encompasses drawing, painting and photography as well as three-dimensional work. These share key motifs such as the circular form as well as ideas of change, of repetition and of the interaction between knowledge and intelligence. She is currently working on a large-scale threedimensional drawing which ' aims to explore what essentially makes a drawing; mark making.' “I wish my art to appear organic but simultaneously bear no resemblance to a specific thing or form in nature... I strive to encourage the viewer to abandon the weighted significance we attach to explanations and literal meaning. (In Allusions)... the art invites the viewer to lose his or her sense of time, to become so involved that in the first instance 'how' or 'why' is forgotten.” Pamela Schilderman is based in Rugby, West Midlands

Mae ymarfer Pamela Schilderman yn cynnwys arlunio, paentio a ffotograffiaeth yn ogystal â gwaith tri-dimensiwn. Mae'r rhain yn rhannu nodweddion allweddol megis y ffurf gron yn ogystal â syniadau am newid, ailadrodd a'r ymadwaith rhwng gwybodaeth a deallusrwydd. “Dymunaf i'm celf ymddangos yn organig ond ar yr un pryd i beidio ag edrych yn debyg i unrhyw beth neu ffurf mewn natur ... 'Rwy'n ceisio annog y gwyliwr i roi'r gorau i'r arwyddocâd pwysedig yr ydym yn cysylltu ag esboniadau ac ystyr lythrennol. (Yn 'Allusions')... mae'r darn yn gwahodd y gwyliwr i golli ei synnwyr ef neu hi o amser, i ymddiddori gymaint yn y darn nes bod y 'sut' neu'r 'pam' yn cael eu hanghofio.” Mae hi'n gweithio ar hyn o bryd ar ddarlun tri-dimensiwn ar radddfa-fawr sy'n 'anelu at archwilio beth sy'n gwneud darlun yn ei hanfod; gwneud marciau.' Mae Pamela Schilderman yn byw ac yn gweithio yn Rugby.

"Residencies have enabled me to complete challenging artwork I would not otherwise have had the chance to do. They provided much needed time, space and support and I still keep in touch with contacts made through residencies. Aberystwyth was unique in that I received invaluable professional expertise for my project from university staff."


Annabelle Shelton Annabelle Shelton is a painter whose usual and distinctive medium is paint on large aluminium panels. Her work usually explores the patterns and shapes made by people in an urban setting or landscape; her scenes include streets, road crossings, events, parks and popular beach settings from which she eradicates all architecture, skies, street furniture and evidence of nature - leaving individual human figures making patterns in relation to each other. “The unfinished look of the work is deliberate, as the white negative space is like a void of nothingness but also gives the viewer a visual resting space. White space is often present in my work and signifies that which does not need to be said. The intention of my work is subtle and necessary in its rendering, for the quietness. “


Paentwraig yw Annabelle Shelton sy'n arbenigo mewn paentio ar baneli alwminiwm mawr. Fel rheol mae ei gwaith yn archwilio'r patrymau a'r siapiau a wneir gan bobl mewn lleoliad trefol neu dirwedd; mae ei golygfeydd yn cynnwys strydoedd, croesfannau, digwyddiadau, parciau a glannau môr poblogaidd. Mae hi'n dileu'r holl bensaerniaeth, yr awyr, celfi stryd ac unrhyw dystiolaeth o natur - gan adael ffigyrau dynol yn ffurfio patrymau mewn perthynas â'i gilydd. “Mae golwg anorffenedig y gwaith yn fwriadol, gan fod y gofod negyddol gwyn fel gwagle enfawr - ond mae hefyd yn rhoi i'r gwyliwr fan gorffwys gweledol. Mae gofod gwyn yn aml yn bresennol yn fy ngwaith ac mae'n dynodi'r hyn nad oes angen ei ddweud. Mae bwriad fy ngwaith yn gynnil gan fod y teimlad o dawelwch yn hanfodol. “

"The studio space was my delight."

Kate Street Kate Street's practice encompasses painting, drawing, sculpture and film. She has used proverbs and myth as a starting point for assemblages, while a series of botanically themed drawings create strange new hybrid forms. The attractive beauty and delicacy of technique in many of Street's works belies a sombre or even macabre undertone. She is currently exploring “the feminine within witchcraft, more specifically the body as a vessel for the unexplained and fabricated.” Among the works she completed in Aberystwyth was a series of short films ' Mererid's Duty'. Kate Street is based in London. Her showreel 'From Slapstick to Horror' recently toured various festivals including Latitude; she will be exhibiting 'The Future is Now' at the Torrance Art Museum in California and 'She Devil - MACRO' at the Museum of Contemporary Art in Rome.


Mae ymarfer Kate Street yn cynnwys paentio, arlunio, cerflunwaith a ffilm. Mae hi wedi defnyddio diarhebion a mythau fel man cychwyn ar gyfer cydosodiadau, tra bod cyfres o ddarluniau ar themâu botanegol yn creu ffurfiau hybrid newydd rhyfedd. Mae'r prydferthwch deniadol a'r dechneg ysgafn a welir mewn llawer o weithiau Street yn tynnu sylw oddi wrth yr islais trwm neu hyd yn oed macâbr. Ar hyn o bryd mae'n archwilio'r “fenyw o fewn dewiniaeth, neu'n fwy penodol, y corff fel rhywbeth i gartrefu'r anesboniadwy a'r ffugiedig.” Mae Kate Street yn byw yn Llundain. Arddangoswyd ei ffilm 'From Slapstick to Horror' yn ddiweddar mewn nifer o wyliau ^ Latitude; arddangosir yn cynnwys Gwyl 'The Future is Now' yn Amgueddfa Gelf Torrance yn California a 'She Devil MACRO' yn yr Amgueddfa ar gyfer Celf Gyfoes yn Rhufain.

"Aber made me reconsider the way in which I was making drawings. I had developed quite fixed studio habits, and it gave me the chance to try new ways of working "

Katherine Sullivan Katherine Sullivan is a sculptor, who began her creative career as a costume-maker. Her sculptures relate to the human body and its relationship with architecture; she also works with photomontage. She exhibited both her sculptures and the photomontages created during her residency at Aberystwyth Arts Centre in 2011. “My work inhabits the common ground between clothing and architecture. I see them both as metaphors for the body. The crafts involved in clothing and building often overlap in my work and I share the views of the great architects of modernism that the very nature of architecture can be identified with textile. To these architects, a building is 'worn' and not occupied. Their understanding of body, clothes, structure and ornament as one, underpins the perceptual framework for my sculpture.”


Mae Katherine Sullivan yn gerflunwraig, a ddechreuodd ar ei gyrfa greadigol yn gwneud gwisgoedd. Mae ei cherfluniau yn ymwneud â'r corff dynol a'i gysylltiad gyda phensaerniaeth; mae hi hefyd yn gweithio gyda ffotogyfosodiad. “Mae fy ngwaith yn digwydd ar y tir cyffredin rhwng dillad a phensaerniaeth. 'Rwy'n gweld y ddau beth fel metafforau ar gyfer y corff. Mae'r sgiliau crefft sy'n ymwneud â chreu dillad ac adeiladu yn gorgyffwrdd yn aml yn fy ngwaith ac 'rwy'n rhannu barn penseiri gwych moderniaeth y gellir adnabod natur gynhenid pensaerniaeth mewn tecstiliau. I'r penseiri hyn, mae adeilad yn cael ei 'wisgo' yn hytrach na bod pobl yn llochesu ynddo. Mae eu dealltwriaeth nhw o gorff, dillad, strwythur ac addurniad fel un, yn sylfaenol i'r fframwaith sy'n cynnal fy ngherflunwaith.

"very grateful for the opportunity, enjoyed the brilliant facilities at the Arts Centre."

Clare Thornton Clare Thornton collects stories and curiosities to inspire the sculptures, textile pieces, costumes and live social events which make up her practice; drawing on performance, fine art and craft techniques. She is curious about the memories and stories we attach to personal objects, and plays with everyday materials to create installations and 'scenes' which reflect the people and places where she works. Clare's Aberystwyth residency, thanks to additional funding from Laura Ashley, included participatory workshops for local groups and subsequently an installation in the Arts Centre gallery. A seamstress for 20 years, she studied for an MA in Theatre Studies & Literature at the University of Glasgow. She lives & works in Bristol .


Mae Clare Thornton yn casglu straeon ac hynodion i ysbrydoli'r cerfluniau, darnau tectstil, gwisgoedd a gweithgareddau cymdeithasol byw sy'n ffurfio'i hymarfer; yn tynnu ar berfformiad, celf gain a thechnegau crefft .. . Mae hi'n ymddiddori yn yr atgofion a'r straeon sy'n gysylltiedig ag eitemau personol, ac yn chwarae gyda deunyddiau bob-dydd i greu gosodweithiau a 'golygfeydd' sy'n adlewyrchu'r bobl a'r llefydd lle mae hi'n gweithio. Bu'n arbenigo mewn gwaith gwnio am 20 mlynedd, ac astudiodd am MA mewn Astudiaethau Theatr a Llenyddiaeth ym Mhrifysgol Glasgow. Mae hi'n byw ac yn gweithio ym Mryste.

Jean Yves Vigneau “I was born in the Magdalen Islands on the east coast of Canada. Over the years I translated my attachment to the maritime world into a body of work that includes sculptures, installations, drawings, photographs and videos. During my residency in Aberystwyth, I spent a lot of time exploring the magnificent coastline of Wales, culminating in a trip to the mythical Bardsey Island. I came to the realisation that only a mirror can tell the objective beauty of the sea and that words of the Welsh language could become poetic landscapes. Sentinel is a simple optical device inspired by the camera obscura that, since 1880, has drawn many visitors to Aberystwyth, Wales. This in-situ sculpture, with its large convex mirror, was installed on top of Constitution Hill, Aberystwyth: it offers a new point of view of the town's spectacular seascape and was created in the spring of 2009 at part of my residency. Jean Yves Vigneau lives & works in Canada.


“Fe'm ganwyd ar Ynysoedd Magdalen ar arfordir dwyreiniol Canada. Ar hyd y blynyddoedd bu fy niddordeb yn y byd morol yn dylanwadu ar fy ngwaith sy'n cynnwys cerfluniau, gosodweithiau, darluniau, ffotograffau a fideos. Yn ystod fy nghyfnod preswyl yn Aberystwyth, treuliais lawer o amser yn crwydro arfordir anhygoel Cymru, gan gynnwys ymweliad â'r Ynys Enlli hyfryd. Deuais i'r casgliad mai dim ond drych sy'n medru adrodd prydferthwch gwrthrychol y môr a gallai geiriau o'r iaith Gymraeg ddod yn dirluniau barddonol. Dyfais optegol syml yw Sentinel a ysbrydolwyd gan y camera obscura sydd, ers 1880, wedi denu llawer o ymwelwyr i Aberystwyth. Sefydlwyd y cerflun parhaol hwn, gyda'i ddrych amgrwm mawr, ar gopa Pen Glais, Aberystwyth: mae'n cynnig safbwynt newydd o forlun ysblennydd y dref ac fe'i crewyd yn ystod y gwanwyn 2009 fel rhan o'm cyfnod preswyl. Mae Jean Yves Vigneau yn byw ac yn gweithio yng Nghanada.

Petri Virtanen Petri Virtanen is an accomplished Finnish photographer and musician, whose works are influenced by imagery from fantasy and horror genres. “My artistic work is in different media: photography, music, painting, drawing, video, poems. My photos mainly evolve around staged images of horror, surrealism and fantasy, I try to create another world far away from the normal everyday life. They are like still pictures of a strange movie, or moments in a performance piece. As for painting and drawing, when I was a kid, I went wild over horror comic books, and I wanted to become a comic book artist. Sometimes I still do, and I keep on drawing these subconscious pictures that come from nowhere and make their own way out. But whatever the medium, I usually try to fill the frames with maximum dynamics, wide angles and action, or restless and mostly blackish still life.”


Mae Petri Virtanen yn ffotograffydd a cherddor talentog o'r Ffindir. Mae ei waith yn cael ei ddylanwadu gan ddelweddau o'r genres ffantasi ac arswyd. “Mae fy ngwaith artistig yn digwydd mewn gwahanol gyfryngau: ffotograffiaeth, cerddoriaeth, paentio, arlunio, fideo, barddoniaeth. Mae fy ffotograffau yn datblygu allan o ddelweddau o arswyd, swrrealaeth a ffantasi, 'rwy'n ceisio creu byd arall sydd ymhell i ffwrdd oddi wrth fywyd normal, bob-dydd. Maent fel lluniau llonydd mewn ffilm ddieithr, neu eiliadau mewn darn o berfformiad. O safbwynt paentio ac arlunio, pan 'roeddwn yn blentyn 'roeddwn wrth fy modd efo llyfrau comig arswyd ac 'roeddwn am fod yn artist llyfrau comig. Weithiau 'rwyf dal yn teimlo'r un modd ac 'rwy'n dal i arlunio'r lluniau isymwybodol hyn sy'n dod o unlle ac sydd rhywsut yn dod i'r wyneb. Ond beth bynnag yw'r cyfrwng, 'ryw'n ceisio llenwi'r fframiau gyda delweddau deinamig, onglau llydan a chynnwrf, neu fywyd llonydd anesmwyth, sy'n dueddol i fod yn ddu rhan amlaf”

"Aberystwyth has been a very rewarding place, and it has sparked so many ideas, themes and new directions, that sometimes I feel quite exhausted, I wish there were three more months to go, to get the ball really rolling!"

Pete Williams Pete Williams is an artist who primarily works with print and sculpture; he is known for his alternative approach to printmaking and in particular for his large scale wood cuts. He founded the Print Market Workshop in Cardiff in 1997, which recently re-launched in new premises as the Print Market Project. His work with the Project helps and advises artists to develop their work through a range of print making techniques, promoting the diversity of possibilities available through the medium of fine art print. During his stay in Aberystwyth Pete Williams produced many works including sculptures and large sale prints. He recently opened his first solo exhibition of prints in New York and has established an exchange for artists between the Print Market Project Cardiff and the Robert Blackburn Printmaking Workshop New York.


Mae Pete Williams yn artist sy'n gweithio'n bennaf gyda phrint a cherflunwaith; mae'n adnabyddus am ei waith nodweddiadol ym maes gwneud printiau ac yn benodol am ei dorluniau pren enfawr. Sefydlodd y Gweithdy Marchnad Print yng Nghaerdydd ym 1997, a gafodd ei ail-lansio'n ddiweddar ar safle newydd fel y Prosiect Marchnad Print. Mae ei waith gyda'r Prosiect yn cynorthwyo ac yn cynghori aritstiaid i ddatblygu eu gwaith trwy ddefnyddio amrediad o dechnegau gwneud printiau, gan hyrwyddo amrywiaeth y posibiliadau sydd ar gael trwy gyfrwng y celfyddydau cain. Bu Pete Williams yn agor ei arddangosfa solo gyntaf o brintiau yn ddiweddar yn Efrog Newydd ac mae wedi sefydlu cynllun cyfnewid ar gyfer artistiaid rhwng Prosiect Marchnad Print Caerdydd a Gweithdy Print Robert Blackburn yn Efrog Newydd.

"It gave me time out to allow me to catch up with my own work and ideas but also to revaluate. Having people to come and see me here has also helped as I feel they do look at your work in a more favourable way. In short, it helps one to progress."

"Artists' residencies are invaluable. They provide not only space and time to produce but also initiate a complete mental break from routine: the opportunity to view practice and positions afresh. The residency at Aberystwyth Arts Centre was, for me, a crucial breathing-space which enabled me to re-negotiate my approach and establish new points of departure for my work." Heather Phillipson

“It really did feed in to all my current successes, thank you”

Jennifer Price

“I loved having all the arts at my fingertips and access to the cinema, theatre and opera and access to both libraries”

Alison McDonald

Artists Artistiaid December Rhagfyr 2011 – September Medi 2014 95

Dave Ball Dave Ball has a wide practice which has often critically reflected on the arbitrariness of individual reality. During his residency he worked on ‘The Mountains of Wales', a project of “observational drawings of hills observed during my own ‘tours’ of Wales which I undertook ‘in search of the Welsh landscape’; accompanied by texts taken from my own oral recollections of these tours. They consist of banal anecdotes about encounters with sheep, cows and farmers, information about the weather, descriptions of my moods, and stuttering and inarticulate attempts to describe the landscape around me. Although I was born and brought up on the side of a hill in the Swansea Valley, I had never really focussed before on the Welsh landscape as a subject. My residency in Aberystwyth therefore represented something of a “homecoming” for my practice. Beginning with the notion that national identity subsists in the landscape of a particular region, the project explores the connection between “Welshness” and the hills and mountains of Wales.” Dave Ball lives and works in Wales and Berlin. 96

Mae gan Dave Ball ymarfer eang sydd yn aml yn synfyfyrio’n feirniadol ar fympwyoldeb realiti unigol. Yn ystod ei gyfnod preswyl gweithiodd ar ‘Mynyddoedd Cymru’, prosiect oedd yn cynnwys “lluniau sylwadol o fryniau a welais yn ystod fy nheithiau fy hun o gwmpas Cymru, yr ymgymerais â nhw ‘wrth chwilio am y dirwedd Gymreig’; ochr yn ochr â thestunau a gymerwyd o’m hatgofion llafar fy hun o’r teithiau hyn. Maent yn cynnwys hanesion ystrydebol am ddod ar draws defaid, gwartheg a ffermwyr, gwybodaeth am y tywydd, disgrifiadau o’r hwyliau oedd arnaf ar y pryd, ac ymdrechion ceclyd a bratiog i ddisgrifio’r dirwedd o’m cwmpas. Er i mi gael fy ngeni a’m magu ar ochr bryn yng Nghwm Tawe, ‘doeddwn erioed wedi ffocysu o’r blaen ar y dirwedd Gymreig fel gwrthrych. Bu fy nghyfnod yn Aberystwyth felly yn cynrychioli rhyw fath o “ddychwelyd adref” i’m hymarfer. Yn dechrau gyda’r syniad bod hunaniaeth genedlaethol yn bodoli yn nhirwedd ardal benodol, mae’r prosiect yn archwilio’r cysylltiad rhwng “Cymreictod” a bryniau a mynyddoedd Cymru.” Mae Dave Ball yn byw ac yn gweithio yng Nghymru a Berlin.

“something of a ‘homecoming’ for my search of the Welsh landscape”

David Brazier & Kelda Free David and Kelda's itinerant practice sees them working site specifically, negotiating the complex relationships that constitute ‘site’. They examine associations between a location’s social, economic, political and institutional dimensions and their personal histories, working methodologies and artistic autonomy. Seeking tensions within these relationships, they employ a variety of social forms and gestures in order to interrogate and re-imagine the systems and spaces they occupy. Their work has been supported by organisations that include Arts Council England, Arcus Japan, Khoj International Artists’ Association India, NAVA Australia and California College of the Arts.

Mae ymarfer grwydrol David a Kelda yn eu gweld yn gweithio mewn lleoliadau penodol, yn trafod y perthnasau cymhleth sy’n ffurfio ‘safle’. Maent yn archwilio cysylltiadau rhwng dimensiynau cymdeithasol, economaidd, gwleidyddol a sefydliadol lleoliad a’u hanesion personol, eu methodoleg a’u hannibyniaeth artistig. Gan chwilio am densiynau o fewn y perthnasau hyn, maent yn defnyddio amrywiaeth o ffurfiau ac arwyddion cymdeithasol er mwyn cwestiynu ac ail-ddychmygu’r systemau a’r llecynnau a gynhwysir ynddynt. Cefnogwyd eu gwaith gan fudiadau sy’n cynnwys Cyngor Celfyddydau Lloegr, Arcus Siapan, Cymdeithas Artistiaid Rhyngwladol Khoj yn India, NAVA Awstralia a Choleg Celfyddydau California.

“This is a unique programme in that you’re given time, space and freedom to research and concentrate, without an emphasis on producing and exhibiting work. It has been invaluable.” 98

Catrin Davies & Lewis Wright Originally from Liverpool and Tregaron, Catrin Davies and Lewis Wright work as an artist duo. Their collaborative work often references the narratives found within the history of painting; the battle for power is a key theme as they examine human nature’s need to control. Still life and installation is a focal point of their practice, their inspiration the ever-changing relationship between each other and with the immediate world around them. Catrin and Lewis’ practice reflects on current ideologies and related human insecurities within a media and information- saturated world; they create changeable installations using symbolic references with unpredictable outcomes. In many of their works, including those completed on their residency in Aberystwyth, they refer to the Classical painting tradition of the still life where the objects symbolise the larger narrative. The contrast of light and dark found within classic still lives is explored visually and conceptually. There are struggles, pressures and tensions as well as moments of unity, clarity and precision; ‘the painted surface becomes a code for the viewer to crack’. Both artists graduated from Kingston University, London; they live in Wales. 100

O Lerpwl a Thregaron yn wreiddiol, mae Catrin Davies a Lewis Wright yn artistiaid sy’n gweithio fel deuawd. Mae eu gwaith ar y cyd yn aml yn cyfeirio at y naratifau a ganfyddir o fewn hanes paentio; mae’r frwydr am bŵer yn thema allweddol wrth iddynt archwilio angen y natur ddynol i reoli. Mae bywyd llonydd a gosodwaith yn ganolbwynt i’w hymarfer, eu hysbrydoliaeth yw’r berthynas newidiol rhwng y ddau ohonynt a’u perthynas gyda’r byd o’u cwmpas. Mae ymarfer Catrin a Lewis yn myfyrio ar ideoleg gyfoes a’r ansicrwydd dynol cysylltiedig o fewn byd sy’n seiliedig ar y cyfryngau a gormod o wybodaeth; maent yn creu gosodweithiau anwadal yn defnyddio cyfeiriadau symbolaidd gyda chanlyniadau anrhagweladwy. Mewn llawer o’u darnau, gan gynnwys y rhai a gwblhawyd yn ystod eu cyfnod preswyl yn Aberystwyth, maent yn cyfeirio at y traddodiad paentio Clasurol sef bywyd llonydd, lle mae’r eitemau yn symboleiddio’r naratif mwy. Archwilir y cyferbyniad o olau a chysgod a welir mewn bywyd llonydd yn weledol ac yn gysyniadol. Ceir brwydrau, pwysau a thensiynau yn ogystal ag eiliadau o undod, eglurder a manyldra; ‘daw’r arwyneb paentiedig yn gôd i’r gwyliwr ei ddatrys’. Graddiodd y ddau artist o Brifysgol Kingston, Llundain; maent yn byw yng Nghymru.

“We both loved our time in Aberystwyth”

Rhian Edwards This 3 month writer residency was set up by the Arts Centre’s Performing Arts and Literature Department, funded by Literature Wales, HAUL and Aberystwyth University. Rhian led a series of creative workshops with local writers and community groups, gave performances, set up open mike evenings and wrote poems inspired by her stay in Aberystwyth. This is one of them.

Trefnwyd y cyfnod preswyl 3 mis hwn i ysgrifenwyr gan Adran Llenyddiaeth a Chelfyddydau Perfformio Canolfan y Celfyddydau, gyda chefnogaeth ariannol oddi wrth Lenyddiaeth Cymru, HAUL a Phrifysgol Aberystwyth. Bu Rhian yn arwain cyfres o weithdai creadigol gydag ysgrifenwyr a grwpiau cymunedol lleol; rhoddodd berfformiadau; trefnodd nosweithiau meic agored ac ysgrifennodd gerddi a ysbrydolwyd gan ei harhosiad yn Aberystwyth. Dyma un ohonynt. 102

A scattering corralled, lassoed into the universal doodle of birds, a mutable speech bubble

The Universal Doodle

of pondering ‘m’s. This is the bombast of starlings as they corkscrew the sky. Each twist and fold summarises them to a simile, like iron filings, flocked and flung across the sky by the metaphorical whims of a magnet. Can you hear the pathetic fallacy, the siren song of a metal’s hum crooning behind clouds, a bit like a God.

Anna Falcini Anna Falcini used her residency at Aberystwyth to become more familiar with the area and to explore “the treasures that are situated in Aberystwyth from the beautiful & historic landscape to the National Library of Wales… My work is often concerned with the in-between spaces, the ephemeral and the less prominent aspects of a place. During my residency, I hope to find interesting starting points in these lesserobserved places. I use video, text, drawing and audio amongst other processes to realise my ideas visually. These are the tools of my trade where a dialogue between discovery and experimentation happen. I have always had a particular interest in estuary landscapes and shorelines so coming to this part of the Welsh coastline is going to be fascinating for me. The Thames and Severn estuaries are both familiar places of artistic investigation. They have inspired continual engagement with these territories.”

Defnyddiodd Anna Falcini ei chyfnod preswyl yn Aberystwyth i ddod yn fwy cyfarwydd â’r ardal ac i archwilio’r “trysorau a leolir yn Aberystwyth, o’r tirlun hyfryd ac hanesyddol i Lyfrgell Genedlaethol Cymru ... Mae fy ngwaith yn ymwneud yn aml gyda’r llecynnau llai gweladwy, agweddau byrhoedlog a llai amlwg y lle. Yn ystod fy nghyfnod preswyl gobeithiaf ddod o hyd i fannau cychwyn diddorol yn y llefydd llai amlwg hyn. ‘Rwy’n defnyddio fideo, testun, arlunio a sain ymysg prosesau eraill i wireddu fy syniadau yn weledol. Dyma arfau fy nghrefft lle mae diaolog rhwng darganfod ac arbrofi yn digwydd. ‘Rwyf wedi ymddiddori erioed mewn tirluniau aberoedd ac ymylon traethau felly mae dod i’r rhan hon o arfordir Cymru yn arbennig o ddiddorol i mi. Mae aberoedd y Dafwys a’r Hafren yn llefydd cyfarwydd o safbwynt f’ymchwiliad artistig. Maent wedi ysbrydoli ymrwymiad parhaol gyda’r tiriogaethau hyn.”

“to explore the treasures that are situated in Aberystwyth” 104

Anne Gibbs “ I would like viewers to experience my work as an abstract arrangement of form and marks that is expressed mainly through the medium of clay." Anne Gibbs lives and works in Cardiff. She uses collections of man-made and natural, found objects as inspiration for her delicate sculptures, working mainly in bone china. Her process begins by sourcing materials from local woodlands, antique shops and market places which are then cast, stitched or altered to transform them in to something intricately unique. The composition of each piece is integral to the work, and the placement of every component is highly considered. Such precision reflects her interest in the sensitivity, beauty and unrest inherent in her surroundings and the resulting work exudes these sensory qualities. “In particular, I have found the irregular land formations at Cwmystwyth to be truly inspirational as well as the coastal areas of Borth and Ynyslas.”

“ Hoffwn i wylwyr brofi fy ngwaith fel trefniant haniaethol o ffurfiau a marciau a fynegir rhan fwyaf trwy gyfrwng clai." Mae Anne Gibbs yn byw ac yn gweithio yng Nghaerdydd. Mae hi’n defnyddio casgliadau o eitemau naturiol, a rhai a wneir gan ddyn, fel ysbrydoliaeth ar gyfer ei cherfluniau cywrain, gan weithio’n bennaf mewn tsieni esgyrn. Mae ei phroses yn dechrau gyda dod o hyd i ddeunyddiau mewn coetiroedd lleol, siopau hynafolion a stondinau marchnad, ac wedyn eu castio, eu pwytho neu eu haddasu er mwyn eu trawsffurfio i fewn i rywbeth gwbl unigryw. Mae cyfansoddiad pob darn yn hanfodol i’r gwaith ac ystyrir gosodiad pob elfen yn ofalus. Mae manyldra o’r math yn adlewyrchu ei diddordeb yn y sensitifrwydd, prydferthwch ac aflonyddwch sydd o’i chwmpas ac mae’r gwaith dilynol yn cyfleu’r nodweddion synhwyraidd hyn. “Yn benodol, ‘rwyf wedi ffeindio’r ffurfiannau tir unigryw yng Nghwmystwyth i fod yn gwbl ysbrydoledig yn ogystal ag ardaloedd arfordirol Borth ac Ynyslas.”

“I...found the irregular land formations at Cwmystwyth to be truly inspirational” 106

Alan Goulbourne “My practice relies upon a process of implementing order and chaos, effectively within random sequences, in order to drive a progression from a single moment and mark to a vast crescendo of massing marks and movements that collectively represent something simple that is visually riddled with complexity.” Alan Goulbourne is a sculptor whose work is a response to observations and perspectives of his surroundings; he often utilises offcuts of natural materials such as wood or paper. Influenced by the relationship between science and nature, the resulting constructions are often physically overwhelming in scale; he explores the visual complexity of things that may at first glance appear simple. “I'm mainly influenced by relationships that emerge visually between science and nature, but I've been slowly aiming to shift the direction on to observations of the human condition. I imagine this transition will take some time, but the residency has given me some much needed down time to consider this.”

“Mae f’ymarfer yn dibynnu ar broses o weithredu trefn ac anhrefn, o fewn cyfresi ar hap, er mwyn gyrru symudiad ymlaen o ennyd neu farc unigol i gresendo anferth o farciau a symudiadau sydd, ar y cyd, yn cynrychioli rhywbeth syml sydd yn weledol yn llawn cymhlethdod.” Cerflunydd yw Alan Goulbourne ac mae ei waith yn ymateb i sylwadau a phersbectifau o beth sydd o’i gwmpas; mae ef yn defnyddio’n aml torion o ddeunyddiau naturiol megis pren neu bapur. Yn cael eu dylanwadu gan y berthynas rhwng gwyddoniaeth a natur, mae’r lluniadau canlyniadol yn aml ar raddfa enfawr yn gorfforol; mae ef yn archwilio cymhlethdod gweledol pethau sy’n ymddangos yn syml ar y golwg cyntaf. “’Rwy’n cael fy nylanwadu’n bennaf gan y cysylltiadau sy’n ymddangos yn weledol rhwng gwyddoniaeth a natur, ond ‘rwyf wedi bod yn anelu’n raddol at symud ymlaen at sylwadau ar y cyflwr dynol. Tybiaf y bydd y newid hwn yn cymryd peth amser, ond mae’r cyfnod preswyl wedi rhoi amser ychwanegol i fy ngalluogi i ystyried hyn.”

“(my) practice is in a general shift and the residency has given me some much needed down time to consider this” 108

Eeva-Mari Haikala Eeva-Mari Haikala is a Finnish artist working mainly with performance, video and photography. In recent years she has focused on incorporating the painterly into live performance and the moving image; as well as in the relationship between text and visual art works. She performs live, using her own body and drawing on her memories as a part of the composition. One of the works created during her residency was ‘I Was Waiting for You (My Heart Will Go On)’, a video performance which references the famous romantic scene in ‘Titanic’. Haikala says about this work: “There are many elements in it that occur frequently in my work: the passage of time, waiting, and an apparent absence of events. .. The woman expects something to happen. The situation in itself is absurd, perhaps even sad: something or someone must be missing, because she is alone. At the moment of shooting, I created a performative situation and a gesture: theoretically, something could have happened – someone could have come up from behind me to support me. For a long time, I had an alternative title to the work, ‘I waited here for you seven minutes but you never arrived’.” 110

Artist o’r Ffindir yw Eeva-Mari Haikala sy’n gweithio’n bennaf gyda pherfformiad, fideo a ffotograffiaeth. Dros y blynyddoedd diwethaf mae wedi ffocysu ar ymgorffori paentio o fewn perfformiad byw a’r ddelwedd symudol; yn ogystal ag yn y berthynas rhwng testun a gweithiau celf gweledol. Mae hi’n perfformio’n fyw, yn defnyddio’i chorff ei hun ac yn tynnu ar ei hatgofion fel rhan o’r cyfansoddiad. Un o’r darnau a greuwyd yn ystod ei chyfnod preswyl oedd ‘I Was Waiting for You (My Heart Will Go On)’, perfformiad fideo sy’n seiliedig ar yr olygfa ramantus enwog yn ‘Titanic’. Dywed Haikala am y darn: “Mae ‘na nifer o elfennau ynddo sy’n digwydd yn aml yn fy ngwaith: treigl amser, aros, a diffyg weithredu. .. Mae’r ddynes yn disgwyl i rywbeth ddigwydd. Mae’r sefyllfa yn ei hun yn wirion, efallai’n drist hyd yn oed: rhaid bod rhywbeth neu rywun ar goll, oherwydd mae hi ar ei phen ei hun. Wrth ffilmio, creuais sefyllfa berfformiadol ac arwydd: mewn theori, gall fod rhywbeth wedi digwydd - gall fod rhywun wedi dod i fyny y tu ôl imi i’m cynnal. Am gyfnod hir, ‘roedd gennyf deitl arall i’r darn, ‘I waited here for you seven minutes but you never arrived’.”

“I collaborated and made friends with the local choreographer and artist Siriol Joyner”

‘I Was Waiting For You (My Heart will go On)’ Aberystwyth Arts Centre, Finnish Artists' Studio Foundation, Arts Promotion Centre Finland, Ian Stonehouse (sound editing). ‘I Was Waiting For You (My Heart will go On)’ Canolfan y Celfyddydau Aberystwyth, Sefydliad Stiwdio Artistiaid y Ffindir, Canolfan Hybu’r Celfyddydau, y Ffindir, Ian Stonehouse (golygu sain). Finnish Artists’ Studio

Doug Jones Doug Jones’ sculptures and installations invite us to reflect on personal and collective desires, in the context of mass consumerism and its global impact. His work is often triggered by observation of cultural phenomena: of various commodities with their relative perceived value/status within consumer culture, events of historic and social significance, the ‘production’ of heritage. Working on different scales, from the impressively large to more intimate, often utilising domestic craft and consumable goods, Jones’ sculptures and installations challenge the viewer to reconsider their expectations and reflect on how once-innocent belief systems can become corrupt. His works have drawn on sources including European ecclesiastical imagery as well as shocking media images such as Mugabe's rebels wreaking havoc in Toyotas. His works offer insights into belief systems and the shadowy narratives of concealed worlds - whether that be the church or British holidaymaker traditions. Doug Jones lives and works in London.


Mae cerfluniau a gosodweithiau Doug Jones yn ein gwahodd i fyfyrio ar ddyheadau personol a chyfunol, yng nghyddestun prynwriaeth torfol a’i effaith byd-eang. Ysbrydolir ei waith yn aml trwy sylwi ar ffenomena diwylliannol: ar wahanol eitemau gyda’u gwerth/statws cydnabyddedig cymharol o fewn diwylliant prynwriaeth, digwyddiadau o arwyddocâd hanesyddol a chymdeithasol, ‘cynhyrchiad’ treftadaeth. Yn gweithio ar wahanol raddfeydd, o’r enfawr i’r cynnil, gan ddefnyddio’n aml eitemau teuluol a nwyddau traul, mae cerfluniau a gosodweithiau Jones yn herio’r gwyliwr i ailystyried ei ddisgwyliadau ac i feddwl am sut y gall systemau cred oedd unwaith yn ddiniwed gael eu llygru. Mae ei waith wedi tynnu ar ffynonellau yn cynnwys delweddaeth eglwysig Ewropeaidd yn ogystal â delweddau brawychus o’r cyfryngau megis rebeliaid Mugabe yn creu llanastr yn y Toyotas. Mae ei ddarnau yn cynnig cipolwg ar systemau cred a naratifau aneglur bydoedd cuddiedig - a gall hynny fod yr eglwys neu draddodiadau’r twrist Prydeinig. Mae Doug Jones yn byw ac yn gweithio yn Llundain.

“to reflect on personal and collective desire in the context of mass consumerism”

Kim Kielkhofner Kim Kielhofner is a Montreal- based artist best known for her videos, books, and drawings; her work often centres on how stories are told and how we understand ourselves within them. She uses familiar forms from cinema, literature and graphic design and plays with our expectations about what they will deliver. “My work is rooted in an everyday process, which allows my work not to be pinned down before it is created but rather is generated through the trajectories and strategies of everyday living… Through the repetitive practices of projecting the self into an overriding narrative, the self performs in a space that cannot be clearly identified. Collecting images every day and letting the narrative elements collect is part of this process which allows for ambiguity and fluidity, allowing a collapse between self and other. I work with books, installation, sound, performance and video - all which are shaped by the materiality of the everyday. In my artistic practice I am interested in an aesthetic of intimacy and the potential of multisensory experience.”


Artist o Montreal yw Kim Kielhofner sydd mwyaf adnabyddus am ei fideos, llyfrau a darluniau; mae ei gwaith yn aml yn canolbwyntio ar sut yr adroddir straeon a sut ‘rydym yn deall ein gilydd o fewn y stori. Mae’n defnyddio ffurfiau cyfarwydd o’r sinema, llenyddiaeth a dyluniad graffig ac yn chwarae gyda’n disgwyliadau ynglyn â’r canlyniadau. “Mae gwreiddiau fy ngwaith yn gorwedd mewn proses bob dydd, sy’n caniatau iddo ddatblygu trwy ddigwyddiadau bywyd beunyddiol yn hytrach na chael ei ddiffinio cyn iddo gael ei greu … Trwy’r ymarfer ailadroddus o osod yr hunan mewn prif naratif , mae’r hunan yn perfformio mewn lle na fedrir ei adnabod yn glir. Mae casglu delweddau bob dydd a chaniatau i elfennau’r naratif ymgynnull yn rhan o’r proses hwn sy’n cynnwys amwysedd a llyfndra, yn arwain at ddymchweliad rhwng yr hunan a’r arall. ‘Rwy’n gweithio gyda llyfrau, gosodwaith, sain, perfformiad a fideo - y cyfan yn cael eu siapio gan fateroldeb bywyd beunyddiol. Yn f’ymarfer artistig ‘rwy’n ymddiddori mewn estheteg cyfathrach a’r potensial ar gyfer profiad aml-synhwyraidd”

“It's been great to have the time to focus on my work and have the space to make connections between ideas that I've been thinking about; I'm very excited about the work I've done here”

This residency was supported by Wales Arts International and the Conseil des Artes, Quebec Cefnogwyd gan Gelfyddydau Rhyngwladol Cymru a’r Conseil des Artes, Quebec

Matthew Macaulay Matthew Macaulay makes paintings that are unorthodox in their approach to ‘composition’; his approach could be called an anti-composition, approaching a cataloguing of visual statements, that resists, at least for a few moments, forming into a picture. The paintings are made to be meditated on rather than reasoned with, more to be “enjoyed” and “felt with the eye” than “understood”. The practice of painting seems to be subject in itself, each painting is a visual essay of an exploration that extends Macaulay's intellectual and emotional understanding of what painting could be. There is an attempt to create new imagery by using intuitive decision making, and not being restricted to a prescriptive idea of what the painting has to look like. Born in Lerwick, Shetland Matthew Macaulay is a graduate of Coventry University. and Director of the artist-run Pluspace Gallery.

Mae Matthew Macaulay yn creu paentiadau sy’n anghyffredin o safbwynt ‘cyfansoddiad’; gellir ystyried ei ddull i fod yn wrth-gyfansoddiad, yn catalogio datganiadau gweledol sy’n gwrthod, o leiaf am ychydig o eiliadau, ffurfio darlun. Gwneir y paentiadau gyda’r bwriad o fyfyrio arnynt yn hytrach na rhesymu gyda nhw, y bwriad yw eu “mwynhau” a’u “teimlo gyda’r llygad” yn hytrach nag eu “deall”. Ymddengys bod yr ymarfer o baentio yn wrthrych ynddo ei hun, mae pob paentiad yn draethawd gweledol o archwiliad sy’n ymestyn dehongliad deallusol ac emosiynol Macaulay o beth y gall paentiad fod. Mae ‘na ymdrech i greu delweddaeth newydd trwy ddefnyddio penderfyniadau greddfol, heb gadw at syniad rhagysgrifiadol o sut y mae’r paentiad yn gorfod edrych. Wedi’i eni yn Lerwick, Shetland graddiodd Matthew Macaulay o Brifysgol Cofentri ac mae’n Gyfarwyddwr yr Oriel Pluspace a reolir gan artistiaid.

“each painting is a visual essay of an exploration” 116

Valerian Mazataud Valerian Mazataud is a French born documentary photographer based in Montreal, Canada. In his work he seeks the “lost instant”, when bodies, looks, or facial expressions tell more than they should; issues around immigration, memory, loss and community identities are his main sources of inspirations. Orignally trained in agricultural engineering, with a master's degree in aquaculture, he is now a freelance photo-journalist based in Montreal, working with several newspapers and magazines in Quebec and abroad. During his residency in Aberystwyth, Valerian experimented with abstract pinhole sea landscapes- a long way from his usual documentary photography work. He also used the time to produce two books, Eigion, a giant 1 meter long book and jours# a small vertical book issued in only 2 copies. “I remember my residency in Aberystwyth as a real breath of fresh air, as much in my artistic, professional and personal life. The creative environment and the artistic freedom I was given were like no others to me. While in Aber, I had the opportunity to challenge myself and use time to give a new path to my career.” 118

Ffotograffydd dogfennol a anwyd yn Ffrainc yw Valerian Mazataud sydd bellach yn gweithio ym Montreal, Canada. Yn ei waith mae’n chwilio am yr “ennyd coll”, pan mae cyrff, edrychiadau neu wynebau yn adrodd mwy nag y dylent; prif ffynonellau ei ysbrydoliaeth yw materion megis mewnfudiad, cof, colled a chymuned. Wedi’i hyfforddi’n wreiddiol mewn peirianneg amaethyddol, gyda gradd meistr mewn aquaculture, mae ef bellach yn gweithio fel newyddiadurwr lluniau ar ei liwt ei hun ym Montreal, yn gweithio gyda nifer o bapurau newydd a chylchgronau yn Quebec a thramor. Yn ystod ei gyfnod preswyl yn Aberystwyth, arbrofodd Valerian gyda morluniau twll-pin haniaethol - rhywbeth gwbl wahanol i’w waith ffotograffiaeth ddogfennol arferol. Defnyddiodd yr amser hefyd i gynhyrchu dau lyfr, Eigion, llyfr anferth medr o hyd a jours# llyfr fertigol bychan a gyhoeddwyd mewn 2 gopi yn unig. “’Rwy’n cofio fy nghyfnod yn Aberystwyth fel anadliad o awyr iach, yn fy mywyd artistig, proffesiynol a phersonol. ‘Roedd yr amgylchedd creadigol a’r rhyddid artistig a roddwyd i mi yn unigryw. Tra yn Aber, cefais y cyfle i herio fy hun ac i ddefnyddio’r amser i roi llwybr newydd i’m gyrfa.”

“The creative environment and the artistic freedom I was given were like no others to me”

This residency was supported by Wales Arts International and the Conseil des Artes, Quebec Cefnogwyd gan Gelfyddydau Rhyngwladol Cymru a’r Conseil des Artes, Quebec

Alison McDonald Australian artist Alison McDonald’s artworks form an intersection of sculpture, consumer culture and environmental concerns. The use of recycled materials plays a critical role in conveying the intended connotations. “This residency was a particularly precious opportunity with crucial breathing space that enabled me to experiment and take new risks, establish new points of departure for my work whilst in a supportive environment. From the bottom of Penglais Hill at the beach, where I was able to discover the wondrous array and abundance of Welsh seaweeds, to the top of Penglais Hill where I could access massive amounts of recycled materials for my creations, Wales was vital source of inspiration and avenue to inform my work. I am still working through ideas that were instilled and still emerging from my time in Wales. Many days I worked 10-12 hours a day in the studio, often due to cold weather, it was warmer and more comfortable to stay in my studio where I was able to become very absorbed in my work without any interruptions, and for three months, it was bliss. I will always treasure my time there.” 120

Mae gwaith celf yr artist Alison McDonald o Awstralia yn ffurfio croesdoriad o gerflunwaith, diwylliant prynwraeth a materion amgylcheddol. Mae defnyddio deunydd sydd wedi cael ei ail-gylchu yn hanfodol bwysig i’w hymarfer artistig. “’Roedd y cyfnod preswyl hwn yn gyfle hynod werthfawr i mi gan fy ngalluogi i gymryd amser allan, i arbrofi a chymryd risgiau newydd yn fy ngwaith mewn amgylchedd cefnogol ac ysbrydoledig. O waelod Rhiw Penglais ar y traeth, lle deuais o hyn i amrywiaeth anhygoel o wymonydd y môr Cymreig, i dop Penglais lle ‘roeddwn yn medru casglu pob math o ddeunyddiau ailgylchedig, ‘roedd Cymru yn ffynhonnell hanfodol o ysbrydoliaeth. ‘Rwy’n dal i weithio ar y syniadau a gefais yn ystod fy nghyfnod yng Nghymru. Yn aml gweithiais rhwng 10-12 awr y diwrnod yn y stiwdio, weithiau oherwydd y tywydd oer, ‘roedd yn gynhesach ac yn fwy cyfforddus i aros yn fy stiwdio lle ’roeddwn yn gallu canolbwyntio ar fy ngwaith heb unrhyw ymyrraeth, ac am dri mis, ‘roedd yn wynfyd llwyr. Byddaf yn trysori f’amser yno am byth.”

“It was fantastic to experience Wales, and Welsh culture, as a resident… I will always treasure my time there” Umbrella Studios, Townsville

Rizwan Mirza Rizwan Mirza received his BA in Photographic Studies from Derby University, studying under British landscape artist John Blakemore, and his MA in Documentary Film from Goldsmiths College, London. During his residency he produced the body of work ‘From Dust to Dust (again)’.

“Cyrhaeddais ganolbarth Cymru yn ystod storm haf annisgwyl a deuais ar draws coed a ddiwreiddwyd yn ffyrnig o fforestydd cyfagos ac a daflwyd i lawr yr afon, ar draeth caregog. ‘Roedd y coed rhywfodd yn edrych yn gwbl estron yn eu lleoliad newydd, dros dro.

“I arrived in mid-Wales during a sudden summer storm and discovered uprooted trees violently dislodged from nearby forests which were then abandoned downriver on a pebble beach. The driftwood somehow seemed so out of place in its new but temporary resting place. It was during this time, I came across several books published over a span of three centuries: William Dalrymple’s The Last Mughal, The Gathering Storm by Winston Churchill and Sir Alexander Burns’sTravels into Bukhara. …Each publication captured a unique juncture in our shared history where cultures have crossed paths and have often faced insurmountable challenges, telling us a great deal about our perception of the other.”

Yn ystod y cyfnod hwn, deuais ar draws nifer o lyfrau a gyhoeddwyd dros gyfnod o dair canrif: The Last Mughal gan William Dalrymple, The Gathering Storm gan Winston Churchill a into Bukhara gan Sir Alexander Burns. … ‘Roedd y tri llyfr yn cynnig cipolwg unigryw ar ein hanes cyfrannol lle mae diwylliannau wedi croesi llwybrau ac yn aml wedi wynebu anawsterau anorchfygol, gan ddweud llawer iawn wrthym am ein hagwedd tuag at ein gilydd. “

“I am not the light of anyone's eye, I give no solace to another's heart. Of no use to anyone, I am but a fistful of dust.” Bahadur Shah Zafar, c1860

“a particularly precious opportunity with crucial breathing space” 122

Jenny Mulcahy Jenny Mulcahy lives and works on Magnetic Island, just off the northern coast of Queensland, Australia. She primarily works with ceramics, but often incorporates found objects and printmaking techniques in to her art. Australia’s history of social injustice and environmental issues feature thematically in her work, as she tackles subjects such as uranium mining, the plight of refugees from war zones and the impact of natural disasters. Whilst in Wales, however, an entirely different environment to the arid deserts of Queensland, she found time to contemplate our human relationship with place on a broader scale. In response she created a series of small scale ceramic pieces that formed a narrative of her stay. “Being able to demonstrate my work to a wider audience has opened up a range of opportunities for me. An invitation to be involved in the upcoming exhibition at the Aberystwyth Arts Centre, having work accepted for the Button Project and an invitation to apply for a residency program in France came about through other professionals visiting my temporary studio at Aberystwyth and seeing what I was doing.” 124

Mae Jenny Mulcahy yn byw ac yn gweithio ar Ynys Magnetic, oddi ar arfordir gogleddol Queensland, Awstralia. Mae’n gweithio’n bennaf mewn serameg, ond yn aml mae’n cynnwys eitemau naturiol a thechnegau argraffu yn ei gwaith celf. Mae hanes anhegwch cymdeithasol a phryderon amgylcheddol yn Awstralia yn nodweddu yn ei gwaith, wrth iddi gyfeirio at faterion megis cloddio wraniwm, helynt ffoaduriaid o ardaloedd rhyfel ac effaith trychinebau naturiol. Tra yng Nghymru fodd bynnag, amgylchedd gwbl wahanol i ddiffeithdiroedd sychion Queensland, ffeindiodd amser i fyfyrio ar ein perthynas ddynol gyda lle ar raddfa ehangach. Mewn ymateb, creodd gyfres o ddarnau serameg bychain a ffurfiodd naratif o’i harhosiad. “’Roedd medru arddangos fy ngwaith i gynulleidfa ehangach yn agor i fyny amrediad o gyfleoedd i mi. Yn dilyn fy nghyfnod yn Aberystwyth, pan fu artistiaid proffesiynol eraill yn ymweld â’m stiwdio dros dro yno, derbyniais wahoddiad i gymryd rhan mewn arddangosfa yng Nghanolfan y Celfyddydau; derbyniwyd fy ngwaith ar gyfer y Prosiect Button ac fe’m gwahoddwyd i geisio am raglan breswyl yn Ffrainc.”

“Being able to demonstrate my work to a wider audience has opened up a range of opportunities for me” Umbrella Studios Townsville

Edel O’Reilly I am an inter-disciplinary artist with collaborative work at the core of my practice and research, with a strong focus on time-based and situational, event-orientated works. My current practice is concerned with the deconstruction of cultural texts through disparate entertainment and media formats as event-based installations and participatory performances. On graduating from Crawford College of Art & Design, I became co-founder of arts collective Cork Contemporary Projects and co-director of project gallery The Space where I developed the curatorial extension of my practice. This core experience in self-initiated, project based work which was responsive and situational in nature, became deeply embedded in my methodology of practice; leading to positions with international platforms including Frieze London, Boers-Li Gallery, Beijing and Templebar Gallery + Studios Dublin. These further informed my current work which examines the shift within the cultural sector towards more corporate, industrial and entertainment based models and how this affects both the artists and artist-audience dynamic. Edel took part in Aberystwyth Arts Centre’s digital project ‘Only Connect’ in 2012. 126

‘Rwyf yn artist rhyng-ddisgyblaethol gyda gwaith cydweithrediadol wrth wraidd f’ymarfer a’m ymchwil, gyda ffocws cryf ar weithiau a osodir mewn amser a lle. Mae f’ymarfer presennol yn ymwneud â dadadeiladu testunau diwylliannol trwy wahanol fformatau adloniant a chyfryngol, ar ffurf gosodweithiau sy’n seiliedig ar ddigwyddiadau a pherfformiadau cyfranogol. Ar ôl graddio o Goleg Celf a Dylunio Crawford, ‘roeddwn yn gyd-sefydlydd cymuned gelf Prosiectau Cyfoes Cork a chyd-gyfarwyddwraig oriel The Space lle datblygais estyniad curadurol f’ymarfer. Cafodd y profiad sylfaenol hwn effaith sylweddol ar fethodoleg f’ymarfer gan arwain at swyddi gyda mudiadau rhyngwladol megis Frieze Llundain, Oriel Boers-Li, Oriel Beijing a Templebar + Studios Dublin. Bu’r profiadau hyn eto yn cael effaith ar fy ngwaith presennol sy’n archwilio’r symudiad o fewn y sector diwylliannol tuag at fodelau mwy corfforedig, diwydiannol ac adloniadol, a sut mae hyn yn effeithio ar artistiaid a’r cysylltiad rhwng yr artist a’r gynulleidfa. Cymerodd Edel ran ym mhrosiect digidol Canolfan y Celfyddydau Aberystwyth ‘Only Connect’ yn 2012.

“collaborative work (is) at the core of my practice and research”

Jill O’Sullivan Jill O’Sullivan is an Australian artist who works mainly in printmaking and drawing. For many years she was interested in interpreting the human condition and the domestic world but through PhD research she turned to the art of chorography - subjectively mapping place as defined by Ptolemy. (According to Ptolemy, chorography is a visual narrative that characterises regional commonalites.) “My present practice engages with the chorographic mapping of place and results from an on-going engagement with the juxtaposition of theory, history of chorographic practice and its application into contemporary practice... It’s everything you ever wanted to say about a place. The closer you are to a place, the more the symbology of the stories will reach you.” During her residency, Jill experimented with collages built up from old local ordinance maps, worked on grisaille vignettes towards producing a visual journal of her travels, on large charcoal drawings, wood engravings and some digital experimentation. The works ranged across interpretations of the land, architecture and human activity and most were a direct and conceptual response to Aberystwyth, recording local land, sea forms and historical architecture. 128

Artist o Awstralia yw Jill O’Sullivan sy’n gweithio’n bennaf ym maes gwneud printiau ac arlunio. Am flynyddoedd lawer ymddiddorodd mewn dehongli’r cyflwr dynol a’r byd teuluol ond trwy ei hymchwil PhD trodd at y ddawn o gorograffi - yn mapio lleoliad yn wrthrychol fel y’i diffinwyd gan Ptolemy yn 149 AC. (Yn ôl Ptolemy, naratif gweledol yw corograffi sy’n nodweddu cyffredinedd rhanbarthol.) “Mae f’ymarfer presennol yn ymwneud â mapio corograffig o leoliad ac mae’n dilyn astudiaeth o gyfosodiad theori, hanes ymarfer gorograffig a’i defnydd mewn ymarfer gyfoes ... Mae’n bopeth yr oeddech erioed wedi dymuno dweud am le. Y mwyaf agos yr ydych at leoliad, y mwyaf yw’r tebygrwydd y bydd symboleg y straeon yn eich cyrraedd.” Yn ystod ei chyfnod preswyl, arbrofodd Jill gyda collages a greuwyd o hen fapiau ordnans lleol, wedi eu gweithio fel portreadau bychain tuag at gynhyrchu dyddlyfr gweledol o’i theithiau; arbrofodd hefyd gyda darluniau siarcol mawr, engrafiadau mewn pren a deunydd digidol. ‘Roedd y gwaith yn cynnwys dehongliadau o’r tir, pensaernïaeth a gweithgarwch dynol ac ‘roedd y rhan fwyaf yn ymateb uniongyrchol a chysyniadol i Aberystwyth, yn cofnodi tir lleol, ffurfiau’r môr a phensaernïaeth hanesyddol.

“the residency undeniably has been quite a catalyst for my work, and a great opportunity that I do deeply appreciate far more than I can say. (and of course for getting really fit climbing the hill each day )” Umbrella Studios Townsville

Jennifer Price Jennifer Price is a Fine Art Printmaker living in London, studying her Masters in Printmaking at the Royal College of Art supported by a QEST scholarship. Price’s artwork harnesses both basic and traditional printmaking methods, then stands them on their head, such that the results cross artform. The work addresses complex layers of material culture and the role of the visual artist. Price is drawn towards psychiatric inkblots, which are open to interpretation and invites the viewer to look beyond the obvious. The links between psychiatric inkblots and mental health issues are of key importance to the artist; she aims to raise awareness of mental health disorders and draw our attention to the prejudice that still surrounds those who suffer from them. To create the artworks, the artist inks up objects that we use in our society - such as cars, shopping trolleys and post boxes. ‘The object is given eminence while stripping it of its function. It is this oxymoron of giving and taking at the same time that sum up the warring sides of many mental health conditions, such as mood and personality disorders.’ 130

Gwneuthurwraig Print yn y Celfyddydau Cain yw Jennifer Price sy’n gweithio yn Llundain, yn astudio ar gyfer gradd uwch mewn Gwneuthur Print yn y Coleg Celf Brenhinol gyda chefnogaeth ysgoloriaeth QEST. Mae gwaith celf Price yn cyfuno dulliau sylfaenol a thraddodiadol gwneud printiau, cyn eu sefyll ar eu pennau, fel bod y canlyniadau yn croesi ffurf gelf. Mae’r gwaith yn ymwneud ag haenau cymhleth o ddiwylliant materol a rôl yr artist gweledol. Mae Price yn cael ei denu at flotiau inc seiciatrig, sy’n agored i ddehongliad ac sy’n gwahodd y gwyliwr i edrych y tu hwnt i’r amlwg. Mae’r cysylltiad rhwng blotiau inc seiciatrig a materion iechyd meddyliol yn allweddol bwysig i’r artist; mae’n anelu at godi ymwybyddiaeth o broblemau iechyd meddyliol ac i dynnu’n sylw at y rhagfarn sy’n dal yn perthyn iddynt. Er mwyn creu’r gweithiau celf, mae’r artist yn arlunio eitemau a ddefnyddir gennym yn ein cymdeithas - megis ceir, trolïau siopa a blychau post. ‘Rhoddir amlygrwydd i’r eitem tra’n tynnu ei defnydd oddi wrthi. Yr ocsimoron hwn o roddi a derbyn ar yr un pryd sy’n crynhoi’r ddwy ochr sy’n nodweddiadol o lawer o broblemau iechyd meddyliol, megis anhrefn tymer a phersonoliaeth.’

“ It was an invaluable experience… a lifechanging experience and I now have friends for life from it. Really spectacular programme. The work I produced got me on to the Royal College of Art's Masters course in Printmaking”

Natasha Rosling Natasha Rosling lives and works in London. Her large scale installations and performances are underpinned by a fascination with how the human body negotiates the world – its mysterious entwining of a present physical space with personal and culturally mediated memories. Throughout her thinking, there is a constant attempt to come to terms with the realities of embodiment, and the impossibility of representing this experience. Toying with themes such as hypnotism, ventriloquism and the circus, each work seeks new ways of fusing subhuman, non-human or super-human realities into everyday places and situations. Here, site specific installations, performed conversations and sonic landscapes are placed side by side together unravelling the boundaries between the outside world and the inner voices of the imagination. Rosling is represented by Hidde van Seggelen Gallery London, and is a member of the pan-European research group OuUnPo.

Mae Natasha Rosling yn byw ac yn gweithio yn Llundain. Seilir ei gosodweithiau a’i pherfformiadau ar ddiddordeb mewn sut mae’r corff dynol yn ffeindio’i ffordd o gwmpas y byd - y ffordd ddirgel y mae’n plethu’r lleoliad corfforol presennol gydag atgofion personol a diwylliannol. Yn ei meddylfryd, gwelir ymdrech gyson i ddod i dermau gyda realaeth ymgorfforiad, a’r ffaith ei bod yn amhosibl i gynrychioli’r profiad hwn. Gan chwarae gyda themâu megis hypnotiaeth, tafleisiaeth a’r syrcas, mae pob darn o waith yn chwilio am ffyrdd newydd o asio realaeth is-ddynol, an-ddynol neu oruwchddynol i fewn i lefydd a sefyllfaoedd bob dydd. Yma, gosodir gosodweithiau, sgyrsiau a berfformir a thirluniau sonig ochr yn ochr - gyda’i gilydd yn datod y ffiniau rhwng y byd allanol a lleisiau mewnol y dychymyg. Cynrychiolir Rosling gan Oriel Hidde van Seggelen yn Llundain, ac mae’n aelod o’r grŵp ymchwil holl-Ewropeaidd OuUnPo.

“I speak very highly of the Arts Centre to others in my field after completing this residency... there was a mutually enriching experience and offering alternative perspectives on ideas and their development” 132

Nastja Säde Rönkkö Nastja Säde Rönkkö is a Finnish artist, who trained at the State Academy Art Institute in Moscow before studying at Central St Martins and the Slade in London. Her work centres on performance, exploring intimacy, empathy and belonging across human interactions and social rituals, from the everyday to the profound. She has used video, text, installation, photography and the internet as extensions and outcomes of the performances. She also shares a collaborative practice with Shia LaBeouf and Luke Turner. Rönkkö has performed and exhibited internationally in venues such as CCA Andratx Kunsthalle, Mallorca, Spain, Galeria Tanja Wagner, Berlin, Germany and Kiasma Museum of Contemporary Art, Helsinki, Finland. During her residency at Aberystwyth, she worked on the performance and film ‘Till the Morning Comes’, in collaboration with Luke Turner.

Artist o’r Ffindir yw Nastja Säde Rönkkö a hyfforddwyd yn Sefydliad Celf Academi’r Wlad ym Moscow cyn astudio yng ngholegau Central St Martins a’r Slade yn Llundain. Mae ei gwaith yn canolbwyntio ar berfformiad, gan archwilio agosrwydd, empathi a pherthyn ar draws ymadweithiau dynol a defodau cymdeithasol, o’r cyffredin i’r dwfn. Mae hi wedi defnyddio fideo, testun, gosodwaith, ffotograffiaeth a’r rhyngrwyd fel estyniadau a chanlyniadau i’r perfformiadau. Mae hi hefyd yn rhannu ymarfer gydweithrediadol gyda Shia LaBeouf a Luke Turner. Mae Rönkkö wedi perfformio ac arddangos yn rhyngwladol mewn canolfannau megis CCA Andratx Kunsthalle, Mallorca, Sbaen, Galeria Tanja Wagner, Berlin, yr Almaen ac Amgueddfa Gelf Gyfoes Kiasma, Helsinki, y Ffindir. Yn ystod ei chyfnod preswyl yn Aberystwyth, gweithiodd ar y perfformiad a’r ffilm ‘Till the Morning Comes’, mewn cydweithrediad â Luke Turner.

“Exploring intimacy, empathy and belonging across human interactions and social rituals…” Finnish Art Studios 134

Ingrid Schildermans Ingrid Schildermans’ paintings are formed of intense colours and lyrical brushstrokes, simultaneously evocative of an archetypal untamed land and a surrealist dreamlike landscape. Driven by a curiosity towards original and uncultivated nature, through her practice she endeavours to discover unknown places and lifestyles. “In Wales I found more than I could hope for on my quest for a contemporary wild and dangerous natural environment,” she says. “The necessity and drive to start my quest there originates from the deafening contrast with the Belgian landscape.” The resulting work is entrenched in an exploration of Welsh culture: spoken mythological stories, intuitive impressions and an engagement with the romanticised elements. “In Wales I discovered the freedom to think in a mythological way in which the division between fact and fiction is essential. The spoken word has retained the right to exist in Wales, and in this way, stories obtain their own life in which fact and fiction are intertwined. “ Ingrid Schildermans lives and works in Belgium. 136

Mae paentiadau Ingrid Schildermans yn nodweddu lliwiau dwys a gwaith brwsh cynnil, sy’n atgoffa un ar yr un pryd am dir gwyllt archdeipaidd ac am dirlun breuddwydiol swrrealaidd. Yn cael ei gyrru gan chwilfrydedd tuag at natur gynhenid sydd heb ei thrin, mae’r artist yn ceisio, trwy ei hymarfer, darganfod llefydd a dulliau byw anhysbys. Dywed: “Yng Nghymru ffeindiais fwy nag yr oeddwn wedi medru gobeithio amdano wrth chwilio am amgylchedd naturiol gwyllt a pheryglus cyfoes. ‘Roedd yr angenrheidrwydd a’r awydd i ddechrau f’ymchwil yno yn deillio o’r cyferbyniad llwyr gyda’r dirwedd Felgaidd.” Mae’r gwaith dilynol yn seiliedig ar archwiliad trylwyr o’r diwylliant Cymreig: straeon mytholegol ar lafar, argraffiadau greddfol a chysylltiad gyda’r elfennau sydd wedi eu rhamanteiddio. “Yng Nghymru darganfyddais y rhyddid i feddwl mewn ffordd fytholegol lle mae’r rhaniad rhwng ffaith a’r ffug yn hanfodol. Mae’r gair ar lafar wedi cadw’r hawl i fodoli yng Nghymru, ac yn y modd hwn, mae straeon yn ffeindio eu bywyd eu hunain lle mae ffaith a’r ffug yn cael eu plethu.” Mae Ingrid Schildermans yn byw ac yn gweithio yng Ngwlad Belg.

“In Wales I discovered the freedom to think in a mythological way”

Sabrina Shah “Whatever one’s calling in life, a lawyer, an actress, a teacher, a fashion designer, a mother, husband or wife or an artist, I believe commitment & self-expression are very important. In my work so far, I use an amalgamation of imagery. I build characters through observation of traits and behaviour as portrayed in the media, in relationships and in focused study of everyday situations. In this way I have explored the hidden interactions between children, adults and animals. I continue to explore ideas proposed by Schiller about naivety. I chose to paint in a naïve style. Painting in this style allows more scope for interpretation and imagination by the viewer. You are able to find your own definitions more easily. I am beginning to learn that naivety expressed in painting can lead to originality.” Sabrina Shah studied painting at Brighton University, scenic art at the Royal Academy of Dramatic Arts London and attended The Prince's Drawing School London as a postgraduate.


“Beth bynnag yw swydd un mewn bywyd, yn gyfreithiwr, yn actores, yn athrawes, yn ddylunydd ffasiwn, yn fam, yn ŵr neu’n wraig i artist, credaf fod ymroddiad ac hunanfynegiant yn bwysig iawn. Yn fy ngwaith hyd yma, ‘rwy’n defnyddio cyfuniad o ddelweddaeth. ‘Rwy’n adeiladu cymeriadau trwy wylio nodweddion ac ymddygiadau fel y maent yn cael eu portreadu yn y cyfryngau, mewn perthnasau a thrwy astudiaeth fanwl o sefyllfaoedd bob dydd. Yn y modd hwn ‘rwyf wedi archwilio’r ymadweithiau cudd rhwng plant, oedolion ac anifeiliaid. ‘Rwy’n parhau i archwilio syniadau a gynigir gan Schiller ynglyn â naïfrwydd. ‘Rwy’n dewis paentio mewn dull naïf. Mae paentio yn y dull hwn yn caniatau mwy o gyfle i’r gwyliwr ddehongli a dychmygu. ‘Rydych yn medru dod o hyd i’ch diffiniadau yn fwy rhwydd. ‘Rwy’n dechrau sylweddoli y gall naïfrwydd a fynegir mewn paentio arwain at wreiddioldeb.” Astudiodd Sabrina Shah baentio ym Mhrifysgol Brighton, celf olygfaol yn Academi Frenhinol y Celfyddydau Dramatig yn Llundain, a mynychodd Ysgol Arlunio’r Tywysog yn Llundain fel myfyrwraig ôlraddedig.

“commitment & self-expression are very important”

Elise Simard Elise Simard has animated her way through a dozen film productions, lending her art to various documentary features and animated shorts, and expanding her own body of work through experimental and exploratory filmmaking. Since graduating from Concordia University in 2004, Simard has directed 7 shorts, including the animated children's tale La Traversée (2010), the tiny, lyrical musical Breakfast (produced at the Aberystwyth Art Centre in Wales in the fall of 2012), and two National Film Board of Canada productions; My Little Underground(2012) and Sober (2014). Mixing the traditional with the unconventional, her practice borrows from a wide array of artistic disciplines, from digital video to pinhole photography, traditional and digital painting and drawing, collage, time-lapse photography and stop-motion animation. Her films concern themselves with the ordinary, the sublime and the imperceptible affairs of our human states. Elise was born and raised in Montreal.

Mae Elise Simard wedi animeiddio’i ffordd trwy ddwsin o gynyrchiadau ffilm, gan fenthyg ei chelf i wahanol ffilmiau nodwedd dogfennol a ffilmiau byrion animeiddiedig, a gan ymestyn ei hystod gwaith ei hun trwy ffilmio arbrofol ac archwiliol. Ers graddio o Brifysgol Concordia yn 2004, mae Simard wedi cyfarwyddo 7 ffilm fer, gan gynnwys y stori animeiddiedig i blant La Traversée (2010), y ffilm fer gerddorol Breakfast (a gynhyrchwyd yng Nghanolfan y Celfyddydau Aberystwyth yn yr hydref 2012), a dau gynhyrchiad Bwrdd Ffilm Cenedlaethol Canada; My Little Underground(2012) a Sober (2014). Gan gymysgu’r traddodiadol gyda’r anghonfensiynol, mae ei hymarfer yn menthyg oddi wrth amrywiaeth eang o ddisgyblaethau artistig, o fideo digidol i ffotograffiaeth dwll-pin, paentio ac arlunio traddodiadol a digidol, collage, ffotograffiaeth dreigl-amser ac animeiddiad stop-symud. Mae ei ffilmiau’n ymwneud â’r cyffredin, yr aruchel a chyflwr cymhleth y bod dynol. Ganwyd a magwyd Elise ym Montreal.

“the ordinary, the sublime and the imperceptible affairs of our human states”

This residency was supported by Wales Arts International and the Conseil des Artes, Quebec Cefnogwyd gan Gelfyddydau Rhyngwladol Cymru a’r Conseil des Artes, Quebec


Still from Breakfast, 2012 Video, cyanotype print, marker pen Delwedd o Breakfast, 2012 Fideo, print cyanotype, pin marcio

Vida Simon “My work incorporates drawing, writing, sculptural objects, gesture, and sound, which are combined to form siteresponsive installations and performances. At the core of my practice is an improvisational approach, which places value on the contingencies of each situation (such as architecture, season, and social context). While my work is visually-based, I try to create situations that undo representation, through integrating the viewer’s participation, obscuring visibility, or revealing processes that are normally kept “behind the scenes.” Linking all aspects of my practice is a passion for drawing, especially for its child-like immediacy and capacity to intertwine imagination with the present moment. Working in this wonderful tin pod (light, space, time) has allowed me to develop diverging threads and themes simultaneously – all under the umbrella of Noah’s Flood. I have collected seaweed, experimented with sheep’s wool, made watercolours, drawn storyboards, played with video, and devised new measurement systems and forms of currency.” Vida Simon works in Montreal 142

“Mae fy ngwaith yn cynnwys arlunio, ysgrifennu, cerflunio, ystum a sain, a gyfunir i ffurfio gosodweithiau a pherfformiadau sy’n ymateb i leoliadau penodol. Mae ‘na ddull byrfyfyr wrth wraidd f’ymarfer, sy’n gosod gwerth ar bosibiliadau pob sefyllfa (megis pensaernïaeth, tymor a chyd-destun cymdeithasol). Tra bod fy ngwaith yn weledol yn y bôn, ‘rwy’n ceisio creu sefyllfaoedd sy’n dadwneud cynrychiolaeth, trwy integreiddio cyfranogaeth y gwyliwr, yn cymylu gweledigrwydd, neu’n datgelu prosesau a gedwir fel arfer “y tu ôl i’r llenni.” Mae cariad tuag at arlunio yn cysylltu holl agweddau f’ymarfer, oherwydd ei uniongyrchedd diniwed a’i allu i blethu dychymyg gyda’r ennyd presennol. Bu gweithio yn y stiwdio unigryw hon (golau, lle, amser) yn caniatau i mi ddatblygu gwahanol syniadau a themâu ar yr un pryd - i gyd o dan ambarel ‘Noah’s Flood’. ‘Rwyf wedi casglu gwymon y môr, arbrofi gyda gwlân dafad, creu dyfrliwiau, arlunio byrddau straeon, chwarae gyda fideo a dyfeisio systemau mesur a ffurfiau arian newydd.” Mae Vida Simon yn gweithio ym Montreal

“I really loved the landscape and met some great people …Working in this wonderful tin pod (light, space, time) has allowed me to develop diverging threads and themes simultaneously”

This residency was supported by Wales Arts International and the Conseil des Artes, Quebec Cefnogwyd gan Gelfyddydau Rhyngwladol Cymru a’r Conseil des Artes, Quebec

Tim Skinner Tim Skinner’s work examines and explores the potential of video as an expressionistic, textural, organic medium. “ 'Your work is very textural' remarked an AV technician in the summer of 2011. This one simple comment was a revelation and sent me on a completely new visual enquiry, questioning the textural possibilities and versatility of the digital video medium. I wanted to question the medium's relationship to painting, exploring both its very materiality and its ability to truly 'represent'.” While working in Aberystwyth Tim set out to “both visually and sonically embrace the repetitive rhythmical make-up of the surrounding local landscapes, with a view to creating a collection of video work that illustrates emotional attachment.” The resulting work ‘Llosi Gwynt’ reflects today’s wind farms and the legacy of coal mining; it was included in the exhibition ‘I Like this place’ at Aberystwyth Arts Centre in 2014 and is being developed further. Tim Skinner was educated at Colchester; he is based at Cuckoo Farm Studios, Colchester.

Mae gwaith Tim Skinner yn astudio ac yn archwilio potensial fideo fel cyfrwng organig, gweadol a mynegiadol. “ 'Mae dy waith yn weadol iawn’ meddai technegydd AV yn yr haf 2011. ‘Roedd yr un sylw syml hwn yn agoriad llygad i mi gan fy nghyrru ar daith weledol gwbl newydd, yn cwestiynu posibiliadau ac amlochredd gweadol cyfrwng y fideo digidol. ‘Roeddwn am gwestiynu perthynas y cyfrwng gyda phaentio, gan archwilio ei fateroldeb cynhenid a’i allu i 'gynrychioli' go iawn.”

“(to) visually and sonically embrace the repetitive rhythmical make-up of the surrounding local landscapes”

Tra’n gweithio yn Aberystwyth bwriad Tim oedd astudio cyfansoddiad rhythmig y tirweddau o’i gwmpas, yn weledol ac o safbwynt sonig, er mwyn creu casgliad o waith fideo sy’n darlunio cysylltiad emosiynol. Mae’r gwaith dilynol ‘Llosi Gwynt’ yn adlewyrchu’r ffermydd gwynt cyfoes ac etifeddiaeth y pyllau glo; cynhwyswyd y gwaith yn yr arddangosfa ‘I Like this place’ yng Nghanolfan y Celfyddydau Aberystwyth yn 2014 ac mae’n cael ei ddatblygu ymhellach. Cafodd Tim Skinner ei addysg yn Colchester; bellach mae’n gweithio yn Cuckoo Farm Studios, Colchester.


Gerald Soworka “Conceptually, my work is about ways of being in the world and what it is to be human. My artistic practice is predicated on drawing, not just as a practice but as a psychological and philosophical imperative to see the world as it really is. Not as it should or could be, but what is really there in front of us. This is not intrinsic to humans and for most us must be learned. This is the true and profound benefit of learning to draw and of drawing the world. My project at Aberystwyth, after Borges’ story of the cartographer, was to draw a one to one scale map of the world.” Gerald’s art work has always explored the political from a very personal and philosophical perspective and he engages with social and environmental influences in both his work and personal life; he has sat on the board of the North Queensland Conservation Council and been actively involved in renewable energy and anti fossil fuel campaigns.

“Yn gysyniadol, mae fy ngwaith yn ymwneud â ffyrdd o fodoli yn y byd a beth mae’n golygu i fod yn ddynol. Mae f’ymarfer artistig yn seiliedig ar arlunio, nid yn unig fel ymarfer ond fel rheidrwydd seicolegol ac athronyddol i weld y byd fel y mae o ddifrif. Nid fel y dylai fod neu y gall fod, ond beth sydd yno o’n blaen ni. Nid yw hyn yn gynhenid i ddynion ac yn achos y rhan fwyaf ohonom, rhaid ei ddysgu. Dyma fudd gwir a phwysig dysgu arlunio, ac arlunio’r byd. Fy mhrosiect yn Aberystwyth, yn dilyn stori Borges am y cartograffydd, yw i arlunio map graddfa un i un o’r byd.” Artist o Awstralia yw Gerald Soworka sy’n archwilio’r gwleidyddol yn ei waith celf o berspectif hynod bersonol ac athronyddol ac mae’n ymateb i ddylanwadau cymdeithasol ac amgylcheddol yn ei waith ac yn ei fywyd personol; bu’n eistedd ar fwrdd Cyngor Cadwraeth Gogledd Queensland a chymerodd ran amlwg mewn ymgyrchoedd egni adnewyddadwy a gwrth danwydd ffosil.

“my work is about ways of being in the world” Umbrella Studios Townsville


Matthew Weir Mathew Weir has become known for his intricately observed and painstakingly created oil paintings. Often simultaneously dark and disturbing as well as aesthetically beautiful and compelling, these paintings deal variously with ideas of violence, race, sexuality, of death and mortality; referencing a wide range of visual, cultural and literary sources. “The often politically incorrect nature of the objects I choose to paint is highlighted and exploited through my appropriation and painterly manipulations. My paintings draw attention to how the meaning of objects changes when rendered in paint and reinterpreted within a contemporary context. I want to create paintings that appear both seductive and grotesque, which are menacing yet still and calm. The paintings shift between a subtle dark humour and extreme violence… A lineage of themes runs through the work, weaving together ideas of oppression and domination, mental and physical suffering and their possible opposites; emancipation, escape and death.” Mathew Weir lives and works in London where he is represented by Alison Jacques Gallery . 148

Mae Mathew Weir yn adnabyddus am ei baentiadau olew manwl a chywrain. Yn aml yn dywyll ac yn aflonydd, yn brydferth ac yn gymhellol ar yr un pryd, mae’r paentiadau hyn yn delio gyda nifer o themâu gan gynnwys trais, hil, rhywioldeb, angau a marwoldeb; cyfeirir at amrediad eang o ffynonellau gweledol, diwylliannol a llenyddol. “Mae natur y gwrthrychau yr wyf yn dewis eu paentio yn aml yn anghywir yn wleidyddol ac amlygir hyn trwy’r ffordd yr wyf yn trin y paent. Mae’r paentiadau yn denu sylw at sut mae ystyr y gwrthrych yn newid wrth iddo gael ei gyflwyno mewn paent a’i ail-ddehongli o fewn cyd-destun cyfoes. ‘’Rwy’n dymuno creu paentiadau sy’n ymddangos yn ddengar ac eto’n grotésg, sy’n fygythiol ac eto’n llonydd ac yn ddigyffro. Mae’r paentiadau yn symud rhwng hiwmor tywyll cynnil a thrais eithriadol … Gwelir llinach o themâu yn rhedeg trwy’r gwaith, yn gwau at ei gilydd syniadau o orthrymder a rheolaeth, dioddef meddyliol a chorfforol a’u gwrthwyneb posibl; rhyddfreiniad, dianc a marwolaeth.” Mae Mathew Weir yn byw ac yn gweithio yn Llundain lle fe’i gynrychiolir gan Oriel Alison Jacques.

“the location has been a big difference and very inspiring”

Swan Song, 2014, Mathew Weir. Oil on canvas, mounted on board. 57 x 40 cm. Courtesy the Artist and Alison Jacques Gallery.

Lucy Watts Lucy Watts gives us visual and annotated diaries from her travels where she observes the everyday things we all take for granted in our little parts of the world; she serves up our idiosyncracies, absurdities and prejudices and, gently mocking, challenges our perceptions. She lets us view our environment through her eyes, both affectionate and quizzical; her fluid draughtsmanship is totally convincing. There is an anarchic quality to her observations - like life, her visual and verbal stories tend to be meandering and more than slightly unhinged. During her residency in Aberystwyth, Lucy engaged with the everyday life around her, sought out the odd little corners and drew and wrote about her observations. Her central focus was on the great British institution of Fish & Chips … Her Fish & Chip Review storyboard sees her distinctive scratchy drawings beautifully conveying the quirky human goings on in a rural area of Wales, ending with a scene in the ’best fish & chip shop in town.’ From ‘The Fish & Chip Review’ 2012; E.R.


Mae Lucy Watts yn rhoi i ni ddyddiaduron gweledol ac anodiadol yn seiliedig ar ei theithiau lle mae’n sylwi ar y pethau bob dydd yr ydym i gyd yn cymryd yn ganiataol yn ein rhannau bach ni o’r byd; mae’n tynnu sylw at ein mympwyon, ein gwiriondeb a’n rhagfarnau a thryw wneud sbort am ein pennau, yn herio’n canfyddiadau. Mae’n gadael i ni edrych ar ein hamgylchedd trwy ei llygaid hi, mewn modd serchog a chellweirus; mae ei dawn dylunio llithrig yn gwbl argyhoeddiedig. Mae ‘na elfen anarchaidd i’w sylwadau - fel bywyd, mae ei straeon gweledol a llafar yn tueddu i fod yn grwydrol a mwy nag ychydig yn ddryslyd. Yn ystod ei chyfnod preswyl yn Aberystwyth, bu Lucy yn ymddiddori yn y bywyd bob dydd o’i chwmpas, gan chwilio am y corneli bach anghyffredin ac yn arlunio ac yn ysgrifennu am ei sylwadau. Ei ffocws canolog oedd ar y Traddodiad Prydeinig gwych, Pysgod a Sglodion. … mae ei bwrdd stori Adolygiad Pysgod a Sglodion yn gweld ei lluniau ysgrifflyd nodweddiadol yn cyfleu’n hyfryd y pethau od sy’n mynd ymlaen yn y Gymru wledig, yn gorffen gyda golygfa yn y ‘siop bysgod a sglodion orau yn y dref.’ ‘Yr Adolygiad Pysgod a Sglodion 2012 E.R.

“Fish and chips became my main field of research during my residency period in Aberystwyth. I decided to bring the popular institution in the exhibition space”

Miranda Whall Miranda Whall works in video, text, audio, animation, drawing and installation. During her residency she concentrated on part of a series of new projects under the collective title ‘The Quests’. An Arts Council Wales Creative Wales Award gave her the opportunity to develop the Quests during 2012/13 in countries including France, Spain, Wales, Turkey, Mexico, Thailand and Germany. All the ‘quests’ projects include a place, a geographical landscape, a subject/object, a human emotion, the vocalization of a text as an audio recording and video footage. The projects have developed according to location-specific responses and the dynamics that occur within collaboration and participation. Miranda Whall lives in Aberystwyth where she is lecturer at the School of Art, Aberystwyth University.

Mae Miranda Whall yn gweithio mewn fideo, testun, sain, animeiddiad, arlunio a gosodwaith. Yn ystod ei chyfnod preswyl canolbwyntiodd ar ran o gyfres o brosiectau newydd o dan y teitl ‘The Quests’. Yn sgil Gwobr Cymru Greadigol gan Gyngor Celfyddydau Cymru cafodd y cyfle i ddatblygu’r prosiect yn ystod 2012/13 mewn gwledydd yn cynnwys Ffrainc, Sbaen, Cymru, Twrci, Mecsico, Gwlad y Tai a’r Almaen. Mae holl brosiectau’r ‘Quests’ yn cynnwys lle, tirwedd ddaearyddol, gwrthrych/eitem, emosiwn dynol, llefaru testun fel recordiad clywedol a darn o fideo. Mae’r prosiectau wedi datblygu yn ôl ymatebion i leoliadau a’r ddeinameg sy’n digwydd o fewn cydweithrediad a chyfranogaeth. Mae Miranda Whall yn byw yn Aberystwyth lle mae’n darlithio yn Ysgol Gelf Prifysgol Aberystwyth. 152

Clare Wilson “My paintings evolve out of a process of layering, removing, reworking and pushing paint to find an inevitable form. The initial chaos of poured paint and expressive brushmarks that dominate the early stages of the work are simplified and the uncomfortable and disjointed shapes are dissolved - at least partly, to create stillness. It is a slow process and the results remain indeterminate as the multi layering of muted tones reveal traces and imprints of the origins of the paintings, often submerged in a veiled light. I am not concerned with the monumental or grand but in the detail of a moment, curious shadows, abstract movements, depths and recessions, textures, memories and allowing the unknown to resurface. Boundaries and borders intrigue me, and how chance encounters can interrupt and allow the fragile and unfamiliar to emerge. Although these paintings are not about place, subtle shifts of tone and a restricted palette may refer to the diffused light and intervals of landscape and its potential as a space of transition and transformation.” Clare Wilson was born in Northumberland; she lives and works in London; she completed an MA in Fine Art at the University of Leeds 154

“Mae fy mhaentiadau yn datblygu allan o broses o haenu, dileu, ailweithio a gwthio paent i ddod o hyd i ffurf anochel. Mae’r llanast dechreuol o baent yn cael ei arllwys a marciau brws mynegiannol, sy’n rheoli datblygiad cynnar y gwaith, yn cael ei symleiddio ac mae’r siapiau anesmwyth a digyswllt yn cael eu diddymu - o leiaf yn rhannol, i greu llonyddwch. Mae’n broses araf ac mae’r canlyniadau yn aros yn amhendant wrth i aml-haenu’r arlliwiau aneglur ddatgelu olion dechreuad y paentiadau, yn aml wedi’i suddo mewn golau cuddiedig. Nid oes gennyf ddiddordeb yn yr anferthol neu’r trawiadol ond yn hytrach ym manyldra y foment, cysgodion chwilgar, symudiadau haniaethol, dyfnderoedd ac enciliadau, gweadeddau, atgofion a chaniatau i’r anhysbys ailymddangos. Mae terfynau a ffiniau yn ennyn fy niddordeb, a’r ffordd y gall digwyddiadau ar hap ymyrryd a chaniatau i’r bregus a’r anghyfarwydd ailymddangos. Er nad yw’r paentiadau hyn yn ymwneud â lle, gall newidiadau cynnil mewn lliw a chysgod gyfeirio at y golau ymledol a darnau o’r tirlun, a’u potensial fel man newid a thrawsffurfiad. Ganwyd Clare Wilson yn Northumberland; mae’n byw ac yn gweithio yn Llundain; cwblhaodd radd MA yn y Celfyddydau Cain ym Mhrifysgol Leeds.

“I enjoyed spreading the word about your brilliant residency”

Tereza Zelenkova “The photographic medium is for me tightly bound to representing reality, and I often find my practice to be largely influenced by my whereabouts. I often travel as I find it easier to conceive new works while in unfamiliar environments and confronted with new people and places.” Photographer Tereza Zelenkova produces monochromatic images that invoke the occult, mortality and mysticism. Inspired by travel and her experiences of unfamiliar environments, she documents mysterious artefacts from nature. By beginning her process intuitively, collecting images of objects and places she feels drawn to, she later regains control through editing and contemplation. The resulting work is personal and reflective and these mysterious artefacts begin to take on a supernatural aura. Although the medium is clearly grounded in representing reality, her photographs deliberately lack ties with any particular place or event. “They usually refer to imaginary spaces or the world as a whole”, she says. “Perhaps if there were a genre of the ‘metaphysical document’, my photos could belong to it.” Born in Ostrava, Czech Republic, Tereza now lives and works in London. 156

“I mi mae’r cyfrwng ffotograffig yn ymwneud â chynrychioli realiti, ac yn aml ‘rwy’n ffeindio bod f’ymarfer yn cael ei dylanwadu’n sylweddol gan yr hyn sydd o’m cwmpas. ‘Rwy’n teithio’n aml gan fy mod yn cael fy syniadau pan ‘rwyf mewn llefydd anghyfarwydd gyda phobl a lleoliadau newydd.” Mae’r ffotograffydd Tereza Zelenkova yn creu delweddau monocromatig sy’n dwyn i’r cof yr ocwlt, marwoldeb a chyfriniaeth. Yn cael ei hysbrydoli gan deithio a’i phrofiadau o amgylcheddau anghyfarwydd, mae’n dogfennu arteffactau dirgel o fyd natur. Trwy ddechrau ar ei phroses yn reddfol, yn casglu delweddau o eitemau a llefydd sy’n ei denu, mae hi wedyn yn adennill rheolaeth trwy olygu a myfyrdod. Mae’r gwaith dilynol yn bersonol ac yn fyfyriol ac mae’r arteffactau dirgel hyn yn dechrau ymgymryd â naws oruwchnaturiol. Er bod y cyfrwng yn amlwg yn seiliedig ar gynrychioli realiti, nid yw ei ffotograffau, yn fwriadol , yn gysylltiedig ag unrhyw le neu ddigwyddiad penodol. Dywed: “maent fel arfer yn cyfeirio at lecynnau dychmygol neu’r byd yn ei gyfanrwydd. Efallai pe bai genre y ‘ddogfen fetaffisegol’ yn bodoli, byddai fy ffotograffau yn perthyn iddi.” Wedi’i geni yn Ostrava, y Weriniaeth Dsiecaidd, mae Tereza bellach yn byw ac yn gweithio yn Llundain.

“if there were a genre of the ‘metaphysical document’, my photos could belong to it”

"... programmes such as this are extremely beneficial to the local arts community in terms of keeping them vibrant, and from becoming too insular. I was amazed at the level of participation from the community to events at the Centre." "...the whole programme is making Aberystwyth a richer and more innovative artistic hub. The accumulation of artists from different cultures and practices has [made this happen]." 158

66 Residents at Creative Units  

This publication features the 66 artists who took part in the "Artists in Residence" programme.

66 Residents at Creative Units  

This publication features the 66 artists who took part in the "Artists in Residence" programme.