__MAIN_TEXT__

Page 1

Textile Traces


Front Cover - Not mine


Textile Traces: personal stories in cloth Ruth Singer 28.05.19 - 20.07.19

Š Llantarnam Grange Arts Centre Gellir archebu copi caled o’r cyhoeddiad hwn gan www.lgac.org.uk/catalogues A hardcopy of this publication can be ordered from www.lgac.org.uk/catalogues


Tool Shed, 2015


Mae 11 mlynedd wedi mynd heibio ers

It is 11 years since I made my first pieces of

i mi wneud fy narnau cyntaf o gelfwaith

textile artwork exploring ideas, concepts

tecstilau sy’n archwilio syniadau, cysyniadau

and emotions. A commission from Derby

ac

gan

Museums to create new work inspired

Derby Museums i greu gwaith newydd

by their collections from Africa really

a ysbrydolwyd gan eu casgliadau o

kickstarted a new creative direction. I had

Affrica a bu hwn yn sbardun cryf i ddilyn

taken a year out from making fashion and

cyfeiriad creadigol newydd.

Roeddwn

interior textile products and worked in the

wedi cymryd blwyddyn o saib oddi wrth

museum sector again. A commission for a

wneud cynhyrchion tecstilau ffasiwn a

museum was the perfect stepping stone

chartref i weithio yn y sector amgueddfeydd

into this new world of making one-off

eto. Roedd comisiwn gan amgueddfa yn

pieces for exhibitions and commissions.

gam perffaith ar y llwybr i’r byd newydd

Arts Council and other funding has been a

hwn o wneud darnau unigryw ar gyfer

vital part of the puzzle which has enabled

arddangosfeydd a chomisiynau. Mae cyllid

me to make the kind of work I want to

Cyngor y Celfyddydau a chyllid arall wedi

make, and to share that work with others

bod yn rhan hanfodol o’r jig-so sydd wedi

through

emosiynau.

Cefais

gomisiwn

commissions,

engagement


Pierced, 2016


fy ngalluogi i wneud y math o waith rydw i

projects and exhibitions.

eisiau ei wneud, a rhannu’r gwaith hwnnw ag eraill trwy gomisiynau, prosiectau cyfranogi

Since those hesitant but exciting first

ac arddangosfeydd.

couple of years, I have found that making work with meaning is exactly where I ought

Ers y blynyddoedd cyntaf petrusgar ond

to be. It is both challenging and necessary;

cyffrous hynny, rwyf wedi sylweddoli mai

it is hard to find the right route sometimes

gwneud gwaith sydd ag ystyr iddo yw’r

but it always feels right to be making

union fan lle dylwn fod. Mae’n heriol – ac yn

things which involve a lot of thought,

angenrheidiol. Weithiau mae’n anodd dod o

research, deliberation, experimentation,

hyd i’r llwybr cywir ond mae bob amser yn

failure and painstakingly slow work.

teimlo’n iawn pan fyddaf yn gwneud pethau sy’n golygu llawer o feddwl, ymchwilio,

My training and work in museums is

ystyried, arbrofi, methu, a gwaith sy’n

fundamental to the way I work now.

llafurus o araf.

Museum Studies teaches you how to analyse an object from all angles, to look at

Mae fy hyfforddiant a’m gwaith mewn

many different aspects of a story from the


Tracery, 2017


amgueddfeydd yn sylfaenol i’r ffordd

sourcing of the raw materials to the selling

y gweithiaf nawr. Mae Astudiaethau

of the item. This expansive approach to

Amgueddfa

i

research shapes my thinking even 20

ddadansoddi gwrthrych o bob ongl, i edrych

years on from my Masters Degree. I tend to

ar lawer o wahanol agweddau ar stori, o

view the bigger picture then focus down

gyrchu’r deunyddiau crai i werthu’r eitem.

onto the slightly-hidden stories. I like to

Mae’r ymagwedd eang hon at ymchwil yn

explore the unseen angles, the stories

siapio fy meddwl hyd yn oed 20 mlynedd ar

otherwise missed and the things we find

ôl gorffen fy Ngradd Meistr. Rwy’n dueddol o

a bit difficult to talk about. I am always

edrych ar y darlun mawr ac yna canolbwyntio

interested in new ways of looking and

ar y storïau sydd ynghudd braidd. Rwy’n

thinking, finding ways to make innovative

hoffi archwilio’r onglau anweledig, y storïau

and original work in a crowded world

a gollwyd fel arall, a’r pethau sy’n reit anodd

of textile artists inspired by heritage.

i ni eu trafod. Mae gen i ddiddordeb bob

Most of my working time is thinking. The

amser mewn ffyrdd newydd o edrych a

making is usually incredibly slow; a piece

meddwl, gan chwilio am ffyrdd o wneud

which I can complete in a day’s sewing

gwaith arloesol a gwreiddiol mewn byd sy’n

has probably been filtering through my

yn

eich

addysgu

sut


Garment Ghosts, 2015-2019


llawn dop o artistiaid tecstilau a ysbrydolir gan

mind for several months. Many take much

dreftadaeth. Byddaf yn treulio’r rhan fwyaf

longer to make and it is always a risk when

o’m hamser gweithio’n meddwl. Fel arfer,

investing so much making time without

mae’r gwneud yn rhyfeddol o araf. Gan amlaf,

knowing if the result will be right. I have

bydd darn a allaf ei orffen mewn diwrnod o

come to trust my gut instant about what

wnïo wedi bod yn hidlo trwy fy meddwl am

works and what doesn’t. Good work will

fisoedd lawer. Mae’n cymryd tipyn yn hirach

spark new ideas, make me want to take it

i wneud llawer o’r darnau ac mae’n risg bob

further and to question what I have done

amser wrth fuddsoddi cymaint o amser

and might do.

mewn gwneud heb wybod a fydd y canlyniad yn briodol. Rwyf wedi dod i ymddiried yn fy

I am always asked where I get my ideas

asesiad greddfol o’r hyn sy’n gweithio neu

from; truthfully they come mostly from my

beidio. Bydd gwaith da yn sbarduno syniadau

head; a brain full of fragmentary ideas from

newydd, yn gwneud i mi eisiau mynd ag ef

20+ years of ferreting about in museum

ymhellach a chwestiynu beth rwyf wedi ei

collections, asking questions, researching

wneud a beth allwn ei wneud.

and exploring, and from 10 years or more of making textiles, collaborating with


Ruth Singer


Mae pobl yn gofyn i mi bob amser o ble

other artists, makers and curators. I have

daw fy syniadau. A bod yn gwbl onest,

been collecting the inspiration sources for

maent yn dod o fy mhen gan amlaf – o

decades and eventually, the right concept

ymennydd sy’n llawn syniadau anghyflawn

and the right material come together.

yn ymgodi o 20 mlynedd a mwy o dyrchu mewn casgliadau amgueddfa, gofyn cwestiynau,

ymchwilio

ac

archwilio,

ac o 10 mlynedd neu fwy o wneud tecstilau, a chydweithredu ag artistiaid, gwneuthurwyr

a

churaduriaid

eraill.

Rydw i wedi bod yn casglu ffynonellau fy ysbrydoliaeth ers degawdau ac ymhen amser, mae’r cysyniad iawn a’r deunydd iawn yn dod at ei gilydd. Ruth Singer, Mai 2019

Ruth Singer, May 2019


Brodwaith llaw ac appliquĂŠ. / Hand embroidery and appliquĂŠ.


The Beauty of Stains  Hen lieiniau byrddau yw’r brodweithiau

These embroideries are old tablecloths

hyn yr wyf wedi eu gosod mewn caffis

which I have placed in cafes and at

ac mewn digwyddiadau oriel fel y

gallery events to gather the marks of

byddant yn casglu marciau treulio a

wear and use. I then embellish them by

defnyddio. Yna rwyf yn eu haddurno

stitching the stains, preserving them

drwy bwytho’r staeniau, gan eu cadw

like memories or tales being handed

fel atgofion neu straeon a draddodir

down through generations. Visitors

o genhedlaeth i genhedlaeth. Mae

and participants have a real impact on

ymwelwyr a chyfranogwyr yn cael

the work: it does not exist without their

effaith go iawn ar y gwaith: nid yw’n

input.

bodoli heb eu mewnbwn nhw. •C  affi’r Ganolfan Crefft a Dylunio Genedlaethol 2015

• National Centre for Craft & Design Cafe 2015 • R-Space Gallery ‘Food’ Exhibition 2016

• Arddangosfa ‘Bwyd’ Oriel R-Space 2016

• Llantarnam Grange Arts Centre exhibition

•R  hagarddangosfa Canolfan Gelfyddydau

preview 2018

Llantarnam Grange 2018


Cwilt wedi’i ailgylchu, llifyn naturiol, blociau pren, 2017 / Recycled quilt, natural dye, wooden blocks, 2017


Quilt Blocks  Wrth ymchwilio i’r storïau y tu ôl i rai o’r

When researching the stories behind

cwiltiau

amgueddfa’r

some quilts in the Quilt Association

Gymdeithas Gwiltiau, deuthum ar draws

museum collection, I found histories

hanesion am gwiltiau fel menter fasnachol, a

of quilts as a commercial enterprise,

wnaed i’w gwerthu ac i roi bwyd ar y bwrdd.

made to sell and put food on the table.

Mae yno hefyd gwiltiau a wnaed yn benodol

There are also quilts made purely

ar gyfer cadw’n gynnes yn defnyddio’r

for keeping warm using the limited

adnoddau cyfyngedig oedd ar gael. Roedd

resources available. There were stories

yno storïau am gartrefi’r teuluoedd a wnaeth

about the homes of the families who

y cwiltiau a berodd i mi feddwl am dai wedi’u

made the quilts which made me think of

cwiltio a’r syniad o gwiltiau’n cynrychioli

quilted houses and the idea of quilts as

gwarchodaeth a diogelwch. Mae ‘Quilt

protection and security. Quilt Blocks

Blocks’ yn mynd â’r syniad hwn ymhellach,

takes this idea further by making building

drwy wneud blociau adeiladu o ddarnau o

blocks out of pieces of recycled quilt,

gwilt wedi’i ailgylchu, a chyfeirio’r term ‘quilt

and referencing the term ‘quilt block’ for

block’ at ddarn sgwâr o glytwaith.

a square section of a patchwork.

yng

nghasgliad


Gwrthrychau hapgael, tecstilau. Amrywiol dechnegau. 2018 / Found objects, textiles. Various techniques. 2018


Sewing Box & Thread Rainbow Etifeddais flwch gwnïo fy mam-gu

I inherited my grandmothers sewing

dros 40 mlynedd ar ôl iddi farw. Wnes i

box over 40 years after she died. I never

erioed ei hadnabod, ond eto rydym yn

knew her, yet we share a thread of

rhannu edau o etifeddiaeth decstilau.

textile inheritance. Unravelling, tidying

Mae datod, tacluso a didoli ei hedafedd

and sorting her threads and tools is

a’i hoffer yn weithred o gofio ac mae

an act of remembrance and making

gwneud darnau newydd o’i hedafedd

new pieces from her threads and tools

a’i hoffer yn golygu bod ei hoes wnïo

marks a continuation of of her sewing

yn parhau drwof innau.

life through me.


Offer gwniadwaith ddoe, hen les galar, 2018 / Vintage needlework tools, antique mourning lace, 2018


Veiled Tools Ers rhai blynyddoedd, rydw i wedi

I have used old tools to celebrate and

defnyddio hen offer i ddathlu a choffáu

commemorate the skills and crafts of

sgiliau a chrefftau’r cenedlaethau

previous generations for some years,

blaenorol, gan ddechrau gydag offer

starting with my grandad’s gardening

garddio fy nhad-cu. Cafodd y darnau

tools. These pieces were inspired by

hyn eu hysbrydoli gan waith Rachel

the work of Rachel Kay-Shuttleworth,

Kay-Shuttleworth, y casglwr tecstilau

the collector of textiles at Gawthorpe

yn Gawthorpe Hall, a gan un o’r

Hall and one of those collection items:

eitemau yn y casgliad hwnnw: maneg

her mother’s lace mourning glove,

alar les ei mam, wedi’i hail-wneud, ei

remade, repaired and preserved.

hatgyweirio a’i chadw.


Gwallt dynol, brodwaith llaw. 2017 / Human hair, hand embroidery. 2017


Within Hunanbortread o fy llygad, wedi ei

A self portrait of my own eye, stitched

wnĂŻo gan wallt dynol a roddwyd.

with donated human hair, inspired

Daeth yr ysbrydoliaeth o frodwaith

by a fragile hair embroidery in the

gwallt bregus yng nghasgliad tecstilau

Gawthorpe textiles collection and

Gawthorpe a phaentiadau miniatur

Georgian eye miniature paintings given

Sioraidd o lygaid a roddwyd i anwyliaid.

to loved ones. This is an introspective

Mae hwn yn ddarn mewnsyllgar, yn

piece, about looking and being looked

ymwneud ag edrych a chael rhywun

at and seeing beyond the surface. It

yn edrych arnoch ac yn gweld y tu

also references genetics and perceived

hwnt i’r wyneb. Mae hefyd yn cyfeirio

identity.

at eneteg a hunaniaeth ganfyddedig.


Croesbwytho, gwrthrychau hapgael, papur. 2016 / Cross stitch, found objects, paper. 2016


Spinster Rwy’n mwynhau adennill y gair

I enjoy reclaiming the word ‘Spinster’,

‘Spinster’ –

Saesneg

which originally meant one who spins

gwreiddiol yn golygu rhywun sy’n

thread. This piece is made from strips

nyddu edau. Gwnaed y darn hwn o

of love letters, spun into yarn on an

stribynnau o lythyrau serch, wedi eu

antique wooden spindle.

mae’r

gair

nyddu’n edau ar hen werthyd bren.


V Llwy ddoe, edafedd wedi’u llifo’n naturiol, clymwaith. 2016 / Vintage spoon, naturally dyed threads, knotting. 2016


Tightly Bound Roedd y llwy yn anrheg gan fy nghyn-

The spoon was a gift from my ex

gariad ac rwyf wedi ei rhwymo ag

and I have bound it with threads,

edafedd, yn cynrychioli’r clymau cariad

representing the loosened bonds of

sydd wedi ymddatod. Mae’r edafedd

love. The threads are dyed with plants

wedi’u llifo gan blanhigion o’r man lle

from where lived.

roeddwn yn byw.


Brethyn ddoe wedi’i lifo’n naturiol, brodwaith llaw, 2016 / Naturally-dyed vintage cloth, hand embroidery, 2016


Wait Dechreuais ar y darn hwn wrth i mi aros

I began this piece as I waited for things

i bethau wella ac roeddwn yn bwriadu

to get better and intended to add

ychwanegu mwy o eiriau. Daeth yn

more words. It became impossible to

amhosibl dal ymlaen yn y sefyllfa hon

continue in this situation and with this

ac â’r brodwaith hwn felly, yn syml,

embroidery, so it became simply ‘Wait”.

trodd yn ‘Wait’.


Hen hances alar, brodwaith llaw. 2018-2019 / Antique mourning handkerchief, hand embroidery. 2018-2019


Memorial Sampler Gall cadw a chofio enwau’r rhai a

It can be healing to preserve and

garwyd ac a gollwyd fod yn iachaol,

remember the names of those loved

gan beri i’r rhain gael eu rhannu a’u

and lost, and have them shared and

gweld. Mae’r cofarwydd wedi’i bwytho

seen. This stitched memorial includes

hwn yn cynnwys enwau fy anwyliaid

the names of my own loved ones and

innau a llawer mwy a gasglwyd oddi

many more gathered from members

wrth aelodau o’r cyhoedd, ffrindiau

of the public, friends and family. I am

a theulu. Ystyriaf bod cael rhannu

honoured to have so many personal

cymaint o storïau serch a cholled

stories of love and loss shared with me

personol wrth wneud y darn hwn yn

in the making of this piece. I think of

anrhydedd. Rwy’n meddwl am bob

each person as I stitch in their name,

person wrth i mi bwytho eu henw,

memorialising them alongside so

gan eu coffáu ar y cyd â chymaint o rai

many others. After this exhibition,

eraill. Ar ôl yr arddangosfa hon, bydd

this piece will become part of the

y darn hwn yn dod yn rhan o Gasgliad

Gawthorpe Textile Collection. I feel

Tecstilau Gawthorpe. Yn fy marn i, bydd

it is very powerful that this piece will

yn rymus iawn gweld y darn hwn yn

be part of a museum collection in the


rhan o gasgliad amgueddfa yn y man

venue where it was first exhibited and

lle cafodd ei arddangos yn gyntaf a lle

where many visitors donated their

rhoddodd llawer o ymwelwyr enwau

loved ones’ names.

eu hanwyliaid.


Brodwaith llaw ddoe heb ei orffen, fy mrodwaith llaw innau, edau wlân. 2018 / Unfinished vintage embroidery, my own hand embroidery, wool thread. 2018


Lost Love Mae’r darn hwn, sy’n ailwampio

This piece, a reworking of an unfinished

brodwaith anorffenedig, yn gofarwydd

embroidery, is a simple memorial

i gariad a ffrind annwyl a fu farw’n

to a dear friend and lover who died

sydyn, ac yn ifanc iawn. Mae tecstilau

suddenly, very young. Incomplete

anghyflawn a bywydau anghyflawn

textiles and incomplete lives leave so

yn gadael cymaint o gwestiynau heb

many unanswered questions and so

eu hateb a chymaint o storïau heb eu

many stories untold.

dweud.


Hances ddoe â brodwaith rhosynnau fel y’i cafwyd, fy mrodwaith llaw mewn edau sidan. 2017-18 / Vintage handkerchief with rose embroidery as found, my hand embroidery in silk thread. 2017-18


Forget Cychwynnodd hwn wrth i mi edrych

This began with looking at museum

ar gasgliadau amgueddfa o sampleri

collections

coffa a brodwaith ‘Cofia Fi’. Wrth fyfyrio,

embroideries and memorial samplers.

ystyriaf fod rhai pethau y mae’n well

On reflection, I consider that there are

eu hanghofio na’u cofio, mae’n rhaid

some things that are better to forget

gollwng rhai pethau. Mae pob pwyth

than to remember, some things must

bychan o waith llaw yn y darn llafurus

be let go. Each tiny hand stitch in

hwn yn weithred ymwybodol o ollwng

this time-consuming piece is an act

yr atgofion drwg, y storïau anhapus a’r

of consciously letting go of the bad

pethau sy’n ein llethu. Rwy’n cyfeirio

memories, the unhappy stories and

hefyd at y ffaith na allwn ddal gafael

the things which weigh us down. I

mewn atgofion, rydym yn anghofio

am also referring to that fact that we

pethau ni waeth pa mor galed byddwn

can’t keep hold of memories, we forget

yn ceisio’u cadw. Mae pethau’n pylu ac

things, however hard we try to keep

yn newid ac ni allwn ymddiried yn ein

them. Things fade and change and our

hatgofion.

memories can’t be trusted.

of

‘Forget

Me

Not’


Pincushions 2015-2018


Pincushions Gwnaed y pincasau hyn er cof am fy

These

pincushions

modryb, Ann Goodstein, a fu farw yn

remembrance

1992. Mae’r 46 pincas yn cynrychioli

Goodstein, who died in 1992. 46

46 blynedd ei hoes fer ac yn dathlu’r

pincushions represent the 46 years of

llawenydd a roddodd i gymaint. Maen

her short life and celebrate the joy she

nhw’n dathlu ei bywiogrwydd, ei hoffter

brought to so many. They celebrate

o hanes. Mae rhai yn cynnwys hen

her vibrancy, her love of history. Some

decstilau, darnau o’i brethyn ei hunan,

include antique textiles, pieces of her

a manylion rwy’n meddwl y byddai

own cloth and details which I think she

wedi eu gwerthfawrogi fel pinnau

would have appreciated like medieval

canoloesol o Afon Tafwys. Gwnaeth ei

pins from the River Thames. Her son,

mab, Ben, un o’r pincasau hefyd. Mae

Ben, also made one of the pincushions.

pincasau yn eitemau personol, cyffredin

Pincushions are personal and every day

a roddwyd gynt yn anrhegion neu fel

items and were once given as gifts or

cofarwyddion. Mae llawer ohonynt

in remembrance. Many are inspired

wedi eu hysbrydoli gan bincasau yng

by pincushions in Gawthorpe Textile

Nghasgliad Tecstilau Gawthorpe.

Collection.

of

are my

made aunt,

in Ann


Garment Ghosts, 2015-2019


Garment ghosts Mae ‘Garment Ghosts’ yn cael eu

Garment Ghosts are created from badly

llunio o hen ddillad wedi’u difrodi ac

damaged and irreparable antique

anhrwsiadwy. Caiff y brethyn darniog

clothing. The fragmentary cloth is

ei adfywio trwy drapio’r dilledyn

brought back to life through trapping

sy’n chwalu rhwng haenau tryloyw,

the disintegrating garment between

gan gadw’r amlinelliad ond hefyd yn

transparent layers, keeping the outline

agor semau i adfer y defnydd i’w ffurf

but also opening up seams to take

wreiddiol. Nod ‘Garment Ghosts’ yw

the fabric back to its original form.

gwneud i chi feddwl am sut rydyn ni’n

Garment Ghosts aim to make you think

cadw ac yn cyflwyno tecstilau, a beth

about how we preserve and present

allai dilledyn ddweud wrthon ni ynglŷn

textiles, and what a garment might tell

â’i orffennol a’r bobl a’i gwnaeth, a’i

us about its past and the people who

gwisgodd ac a’i trosglwyddodd.

made, wore, kept and passed it down.


Locks, 2013


Locks Gwnaed y darnau hyn o wallt dynol

These pieces are made using human

dan ysbrydoliaeth gemwaith galar

hair inspired by Victorian mourning

Fictoraidd a wnaed o wallt anwylyd.

jewellery made with a loved-one’s hair.

Maen nhw’n archwilio syniadau o

They explore ideas of remembrance,

gofio, galaru a chadw cofarwyddion

mourning and preserving precious

personol

bod

personal mementoes. Human hair is

gwallt dynol yn hardd pan fydd ar ben

considered beautiful on the head but

rhywun, ond yn aml caiff ei ystyried yn

often felt to be disgusting once cut or

ffiaidd pan fydd wedi ei dorri neu ei

fallen.

golli.

gwerthfawr. Ystyrir


Ruth Singer Arddangosfa Canolfan y Celfyddydau Llantarnam Grange A Llantarnam Grange Arts Centre Exhibition Dylunio / Design: Hillview Design Cyhoeddwyd gan Ganolfan y Celfyddydau Llantarnam Grange. Testun Yr Awduron a LGAC 2018 Canolfan y Celfyddydau Llantarnam Grange, Heol Dewi Sant, Cwmbrân, Torfaen NP44 1PD Published by Llantarnam Grange Arts Centre. Text LGAC 2017 Llantarnam Grange Arts Centre St.David’s Road Cwmbran Torfaen NP441PD +44(0)1633 483321 info@lgac.org.uk www.lgac.org.uk Mae Canolfan y Celfyddydau Llantarnam Grange yn rhan o bortffolio Sefydliadau Refeniw Cyngor Celfyddydau Cymrun – “Portffolio Celfyddydol Cymru” Elusen Gofrestredig rhif: 1006933. Cwmni Cyfyngedig trwy Warant rhif: 2616241 Llantarnam Grange Arts Centre is part of Arts Council of Wales portfolio of Revenue Funded Organisations – “Arts Portfolio Wales” Registered Charity no: 1006933. Company Limited by Guarantee no: 2616241 Ariennir Canolfan y Celfyddydau Llantarnam Grange gan Gyngor Celfyddydau Cymru a Cyngor Bwrdeistref Sirol Torfaen. Llantarnam Grange Arts Centre is funded by the Arts Council of Wales, Torfaen County Borough Council. Ni chaniateir atgynhyrchu’r cyhoeddiad hwn, boed yn rhannol neu yn ei gyfanrwydd, ar unrhyw ffurf heb ganiatâd ysgrifenedig y Cyhoeddwr. This publication may not be reproduced in whole or in part in any form without written permission from the publisher. Y Clawr Cefn / Back cover : ToolShed


Profile for Llantarnam Grange Arts Centre

Textile Traces: personal stories in cloth  

Exhibition Catalogue. Textile Traces brings together Ruth Singer's work exploring human experience expressed through thoughtful and emotiona...

Textile Traces: personal stories in cloth  

Exhibition Catalogue. Textile Traces brings together Ruth Singer's work exploring human experience expressed through thoughtful and emotiona...

Profile for lgac
Advertisement