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season three the box tymor tri y blwch elen bonner

tom marshman

harry meadows

james johnson-perkins

yang zhifei

Elen Bonner

Elen Bonner responds to the culture and community of contemporary rural Wales, often appropriating customs prevalent within this particular culture to use as a vehicle to discuss her own identity and that of those around her. Her work raises questions of representation, acting as a discussion as to who is most powerful when determining how a place and its people are understood. The attack caused immense harm to Wales, I do suppose? Treachery of the Blue Books R.J.Derfel 1854 is the title given to a film of a sketch called Treachery of the Silly Assembly written by the artist and performed on stage by the local Young Farmers Club. The work references the infamous Blue Books - the Commission of Enquiry Report into the State of Education in Wales published in 1847. The work examines a community’s understanding of itself and questions the way in which it chooses to be portrayed. The research for the work was undertaken during a residency at Aberystwyth Arts Centre.

Mae Elen Bonner yn ymateb i ddiwylliant a chymuned y Gymru wledig gyfoes, yn aml yn defnyddio traddodiadau’r diwylliant hwnnw i drafod ei hunaniaeth ei hun ac hunaniaeth y sawl o’i chwmpas. Mae ei gwaith yn codi cwestiynau o gynrychiolaeth, yn gweithredu fel trafodaeth ynglyn â phwy sydd â’r grym mwyaf wrth benderfynu sut y mae lle penodol a’i bobl yn cael eu dehongli. Fe wnaeth yr ymysodiad ddirfawr niwed, I Gymru, er y cwbl, yr wyf yn tybied? Brad y Llyfrau Gleision R.J.Derfel 1854 yw’r teitl a roddir i ffilm o sgets o’r enw Treachery of the Silly Assembly a ysgrifennwyd gan yr artist ac a berfformwyd ar y llwyfan gan y Clwb Ffermwyr Ifanc lleol. Mae’r gwaith yn cyfeirio at y Llyfrau Gleision drwg-enwog - sef yr Adroddiad ar Gyflwr Addysg yng Nghymru a gyhoeddwyd ym 1847. Mae’r darn yn archwilio dealltwriaeth cymuned ohoni hi’i hun ac yn cwestiynu’r ffordd y mae’n dewis cael ei phortreadu. Ymgymerwyd â’r ymchwil ar gyfer y darn yn ystod cyfnod preswyl yng Nghanolfan y Celfyddydau Aberystwyth.

Tom Marshman

‘Everybody’s Kitchen’ and ‘Her Bungalow Heart’ Tom Marshman shows two works which he produced in collaboration with artist Anna Lucas. ‘Her Bungalow Heart’ is a commemoration of the domestic environment in which the artist’s Nan lived for the last 35 years of her life, while ‘Everybody’s Kitchen’ investigates our emotional investment in the things we choose to eat. Tom Marshman is from Bristol, and his work addresses issues that are often seen as mundane or unremarkable. “I am interested in how memory shifts our view of the world we live in. . . I have a fascination for uncovering extraordinary stories from ordinary lives and creating narrative environments.” Tom Marshman works across a wide range of disciplines as an artist, including performance, photography and installation. His work has been shown widely around his home of Bristol and also at venues including Chapter Arts Centre, Cardiff; Camden Peoples Theatre, London; National Review of Live Art, Glasgow; and Berne Festival.

‘Everybody’s Kitchen’ a ‘Her Bungalow Heart’ Mae Tom Marshman yn dangos dau ddarn a gynhyrchwyd ganddo mewn cydweithrediad â’r artist Anna Lucas. Mae ‘Her Bungalow Heart’ yn cyfeirio at yr amgylchedd domestig lle bu Nain yr artist yn byw am y 35 mlynedd olaf o’i bywyd, tra bod ‘Everybody’s Kitchen’ yn archwilio’n buddsoddiad emosiynol yn y pethau yr ydym yn dewis eu bwyta. Daw Tom Marshman o Fryste, ac mae ei waith yn ymdrin â materion sy’n cael eu gweld fel pethau cyffredin, di-nod. “Mae gennyf ddiddordeb yn y ffordd y mae’r cof yn effeithio’n hagwedd tuag at ein byd . . . ‘rwyf wrth fy modd yn dod o hyd i straeon eithriadol sy’n cuddio tu ôl i fywydau cyffredin ac yn creu amgylcheddau naratif.” Mae Tom Marshman yn gweithio ar draws amrediad eang o ddisgyblaethau fel artist, gan gynnwys perfformiad, ffotograffiaeth a gosodwaith. Arddangoswyd ei waith yn helaeth yn ardal Bryste ac hefyd mewn lleoliadau megis Canolfan Celf Chapter yng Nghaerdydd; Camden Peoples Theatre, Llundain; National Review of Live Art yn Glasgow; a Gwyl Berne.

Harry Meadows

Harry Meadows works in both print and time based media, and shows several works here including ‘News from Nowhere’ and ‘Gallery goers’, which explore the difference between the values of, for example, the rustic and Modern. Influenced by writings such as Russell Hoban’s Riddley Walker and William Morris’s News From Nowhere, Meadows finds that “by combining the anachronistic and incongruous, a mysterious perspective is created through which I find a contemporary position for subjects such as Modern architecture, heraldic crests, Celtic tradition and Utopia.” Harry Meadows studied at Goldsmiths College and Wimbledon School of Art. He lives and works in London but keeps a connection with Wales, where he grew up. Recent exhibitions include Hi-Tech Talent at The Barbican Gallery, BBC Big Screens, Royal Festival Hall, London; Five Dogs, Athens; Sala Sam, Santiago. Recent projects include Braziers International Artists’ Residency, Dual Mirage (ed.Hyemin Son) and Hackney Wick Festival.

Mae Harry Meadows yn gweithio mewn print a chyfrwng sy’n seiliedig ar amser ac mae’n dangos nifer o ddarnau yma gan gynnwys ‘News from Nowhere’ a ‘Gallery goers’, sy’n archwilio’r gwahanialeth rhwng gwerthoedd, er enghraifft, y gwledig a’r Modern. Yn cael ei ddylanwadu gan waith megis Riddley Walker gan Russell Hoban a News From Nowhere gan William Morris, mae Meadows yn ffeindio ei fod, trwy gyfuno’r anachronistig a’r anghyffredin, yn medru creu llwyfan gyfoes ar gyfer pynciau megis pensaerniaeth fodern, arwyddion herodrol, traddodiadau Celtaidd ac Iwtopia. Astudiodd Harry Meadows yng Ngholeg Goldsmiths ac Ysgol Gelf Wimbledon. Mae’n byw ac yn gweithio yn Llundain ond mae’n cadw cysyltiad â Chymru lle cafodd ei fagu. Mae ei arddangosfeydd diweddar yn cynnwys Hi-Tech Talent yn Oriel y Barbican, BBC Big Screens, Neuadd Wyl Frenhinol Llundain; Five Dogs, Athens; Sala Sam, Santiago. Mae proseictau diweddar eraill yn cynnwys Cyfnod Preswyl Braziers i Artistiaid Rhyngwladol, Dual Mirage (ed.Hyemin Son) a Gwyl Hackney Wick

James Johnson-Perkins

Johnson-Perkins’s oeuvre can be described as a nostalgia trip. His artworks include: A super hero society, an attempt to beat the world record for the most amount of people doing robotics, a giant army of Lego characters and Den sculptures. He has also been working on a series of video works, a selection of which are featured here. These video works are influenced by 1980s computer games, geometric painting, disco lights and Robotics. James Johnson-Perkins is a British artist who has exhibited in the USA, Russia, Japan, Germany, Spain, Italy, Greece, Romania, Lithuania, Macedonia and the UK, including: The IMAC Theatre, New York, USA, National Centre for Contemporary Arts (NCCA), Moscow, Russia, Toyota Museum of Modern Art, Japan, Centre for Contemporary Art (CCA), Glasgow and The Royal College of Art (RCA), London. In 2010, he was Artist In Residence with the Emily Harvey Foundation, Venice, Italy and The Bridge Guard, Stúrovo, Slovakia. (

Gellir disgrifio gwaith Johnson-Perkins fel taith hiraethus. Mae ei waith celf yn cynnwys: A super hero society, ymdrech i guro record y byd am y nifer mwyaf o bobl yn gwneud roboteg; byddin enfawr o gymeriadau Lego a cherfluniaethau Den. Mae wedi bod yn gweithio hefyd ar gyfres o ddarnau fideo, a cheir detholiad o’r rhain yma. Mae’r darnau fideo hyn yn cael eu dylanwadu gan gemau cyfrifiadur o’r 1980au, paentio geometrig, goleuadau disgo a Roboteg. Mae James Johnson-Perkins yn artist Prydeinig sydd wedi arddangos yn UDA, Rwsia, Siapan, yr Almaen, Sbaen, yr Eidal, Gwlad Groeg, Rwmania, Lithuania, Macedonia a’r DU, gan gynnwys: The IMAC Theatre, Efrog Newydd, UDA, Canolfan Genedlaethol y Celfyddydau Cyfoes (NCCA), ym Moscow, Rwsia, Amgueddfa Celfyddydau Modern Toyota, Siapan, Canolfan y Celfyddydau Cyfoes (CCA), Glasgow a’r Coleg Celf Brenhinol (RCA) yn Llundain. Yn 2010, ‘roedd yn Artist Preswyl gyda Sefydliad Emily Harvey yn Fenis, yr Eidal a’r Bridge Guard, Stúrovo, Slofacia. (

Yang Zhifei

Yang Zhifei is based in China and the Netherlands and is one of three artists selected for the box programmes in 2011 by Chinese artist/curator Chen Wei, who was an artist in residence at Aberystwyth Arts Centre in 2008. ‘Day Dreams’ features an outsized white pillow which is revealed in unexpected locations. An innocent young woman in a long white dress sleeps peacefully on a clean white cushion and sheet. The camera zooms out to reveal that the pillow is enormous...while the background becomes more and more prosaic. The artist has used the large pillow motif in a performance project in Shenzen, where people were encouraged to sleep and dream in public places; this was made as part of ‘The Invisible Generation’, a world- wide project encouraging new forms of meeting and communication between people.

Mae Yang Zhifei yn dod o Fujian yn Tsieina ac mae’n un o bedwar artist a ddewiswyd ar gyfer rhaglen y blwch yn 2011 gan yr artist/curadur Tsieineaidd Wei Chen, a oedd yn artist preswyl yng Nghanolfan y Celfyddydau Aberystwyth yn 2008. Mae ‘Day Dreams’ yn nodweddu clustog wen enfawr sy’n cael ei datgelu mewn lleoliadau annisgwyl. Mae dynes ifanc ddiniwed mewn ffrog wen hir yn cysgu’n heddychol ar glustog wen lân. Mae’r camera’n tynnu’n ôl i ddangos bod y glustog yn anferth … tra bod y cefndir yn mynd yn fwy a mwy di-raen. Mae’r artist wedi defnyddio’r syniad o’r glustog fawr mewn prosiect perfformio yn Shenzen, lle anogwyd pobl i gysgu a breuddwydio mewn llefydd cyhoeddus; gwnaethpwyd hyn fel rhan o ‘The Invisible Generation’, sef prosiect byd-eang sy’n annog ffurfiau newydd o gyfarfod a chyfathrebu rhwng pobl.

canolfan y celfyddydau aberystwyth arts centre

made possible by Arts Wales Beacons Funding | ISBN 978-0-9550874-3-1

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the box: Season 3  

the box: Season 3