Paid ag ysgwyddo heriau’r mislif dy hun.
Paid ag ysgwyddo heriau’r mislif dy hun.
Gall siarad hefo merched eraill mewn gofod saff ysgafnhau poenau y mislif. Cychwynna sgwrs am y mislif pan wyt ti’n teimlo’n saff.
Gyda’n gilydd gallwn chwalu tabw y mislif.
Dim mwy o guddio – rydym am rannu profidau’r mislif mewn ffyrdd cynhwysol a diogel.
Mae gen ti’r hawl i amddiffyn dy hun trwy dy gylchdro.
Mae’r cylchdro yn broses naturiol sydd yn cymryd amser i’w ddeall ac i arfer hefo’r newid emosiynol , corfforol a meddyliol.
Rhaid i ti gael gofod diogel i drafod, i leisio dy anghenion a datrys yr heriau.
Ddylai ‘run ferch golli cyfle, guddio na dioddef oherwydd y mislif a’r cylchdro.
Gwyneba dy gôl yn hyderus
Mae gen ti dim o ferched o dy gwmpas i dy gefnogi.
Ffeindia dactegau sydd yn dy helpu a bydd yn agored i drio patrymau newydd.
Mae rhaid cael cydwbysedd rhwng ymosod ac amddiffyn ar gae pêl-droed fel mewn bywyd.
Ond mwynha’r gêm, beth bynnag fo’r sgôr.
Addysg Emosiynol am y mislif i bawb
Mae angen i ni gyd glywed am brofiadau’r mislif i gefnogi ein gilydd. Yn ifanc a hen yn fenywaidd, yn wrywaidd neu yn anneuaidd.
Nid dim ond ffeithiau ond effaith ar emosiynau a iechyd meddwl.
Sefyll yn ôl a gweld y darlun cyfan
Mae gen ti’r gallu i weld y byd, i sylwi ar batrymau ac i greu tactegau newydd.
Rho amser i dy hun bwyllo a sylwi ar y cylchdro.
“Surprise visit period ddim yn braf heb doilet”
Mae gollwng gwaed yn digwydd i bawb. Allwn ni normaleiddio damweiniau gwaed?
Mae angen darparu cyfleusterau i wneud hi’n haws i bob merch fyw hefo’r mislif.
Cefnoga dy hun a merched eraill trwy’r mislif.
Cefnoga dy hun a merched eraill trwy’r mislif.
Gwranda ar negeseuon o dy galon
Dim cywilydd dim ond cariad at ein hunain.
Gallwn greu gofodau saff i ddysgu am y mislif trwy greadigrwydd.
Gallwn greu gofodau saff i ddysgu am y mislif trwy greadigrwydd. Dychmygu, cydweithio a dyfalbarhau i godi ymwybyddiaeth am y cylchdro.
Dy egni di sy’n symud y bêl
Paid â gwastraffu dy egni. Mae dy hormonau, dy emosiynau a dy feddyliau yn newid dy egni. Ond mi elli di ail gyfeirio dy egni wrth ddeall sut mae dy gorff yn ymateb i bopeth.
Bydd yn effro yn dy gorff.
Gall symud, cysylltu hefo merched eraill ac ymgolli mewn gêm newid y ffordd rwyt ti’n teimlo yn ystod y mislif.
Gall symud, cysylltu hefo merched eraill ac ymgolli mewn gêm newid y ffordd rwyt ti’n teimlo yn ystod y mislif.
Gen ti mae’r pwer – yn y ffordd rwyt ti’n ymateb i sefyllfaoedd.
Rho amser i ddod i nabod dy gylchdro ac i gynyddu dy bwer.
Llonyddu – gad i dy gylchdro droi ei hun.
Llonyddu – gad i dy gylchdro droi ei hun.
Synhwyra dy ganol llonydd. Gad i dy feddwl wagu, dy gorff lonyddu a gwyra mewn i dy gryfder.
“Nid oes atebion wedi bod”
Er bod merched wedi gofyn am gefnogaeth , mae rhai sefyllfaoedd lle mae oedolion yn ei chael hi’n anodd trafod y mislif er mwyn datrys problemau.
Mae Cylchdro yn galw am drafodaeth ARORED a DIOGEL i roi atebion yn eu lle.
Cylchdro
Women, periods and football.
Madaraja Art Store
Following the success of our Madaraja art exhibitions in Cardiff and Swansea, the art work is now available to buy here!
Andrew Ogun: Cyfweliad/Interview
Dafydd Rhys: Cyfweliad/Interview
Enjoy an extended interview with the new Chief Executive of Arts Council of Wales, Dafydd Rhys, from the sixth Noson Gelf / Art Night broadcast, on demand now!
Mudd Club: Cyfweliad/Interview
Aristiaid Ifainc Cymru | Young Welsh Artists 2022
A digital preview of the exhibition from MOMA Machynlleth which shares the art of artists under 30 who work in Wales
Elena Grace
Loss, absence and perception of emptiness in a space are at the forefront of my practice. I predominantly focus on the reminiscing and haunting aspect of associating a moment in time with an interior. Oil painting scenes with the use of photographs as reference, I explore the idea of absence of life/ time.
These rooms reflect on intimacy of the home and location-specific human attachments to past. I inform personal nostalgia into the way I make an impression of the subject of my painting, transforming it into a visual representation of a fragmented memory.
Ffion Griffiths
These pieces of art depict the confused state I currently find myself in as an artist. I am finding it difficult to feel excited about anything I make. When working on something, I get to a stage where I cannot continue and don’t care for it. The process however, of making the art is what keeps me motivated. Creating marks, finding that connection between myself and the materials. I spent months feeling apathetic, and down-trodden that I could not produce anything visually appealing and no concepts or ideas inspired me enough to make work. I decided to celebrate the fact and embrace the block, find a new way of working and use it as a learning curve. I believe nobody should feel guilty about having artist block. Sometimes it might just be the that inspires you to create again.
PJ Ke
Give Yourself Time PM 8:06
Caitlin Dolman
Within my practice, I place myself in front of the empty composition with paint and a premise. I proceed to build from this and intuitively feed my creative process by allowing personal vulnerability and cathartic release. Using semiotics of colour and language to relate to points made within the art, solidifies the context in which is being read. Exploring the topics of mundane life, intrusive thoughts, stigmatized discussions such as LGBTQIA+ and feminist issues, mental health, grief and how we, as people, react to them. Building tension not only between the explicit and implicit, poetic-like text to open and close consumer narrative but also through domination and submission. Using confessional, text-based art to highlight the weight of which words can be used with set intention and the value reclaimed language can have when placed into a new context. All created through the lens of a female presenting artist in hopes of inciting conversation that may not have otherwise taken place.
Dione Jones
Anger simmers under the flesh and hair and veins, right to the core. Containment is a breeding ground for unsettled thoughts. My own hysterical voice jolts me out of my own skin. I can’t relax.
Feeling like your own body is a weapon deployed to destroy you. Like every open pore, unwanted sensation, natural function, and ultimate unwillingness to be how you want it, is a personal attack set on tearing you down to nothing but all you see and despise.
String wrapping like a net forming around all those parts of your anatomy that seem to stick out more and more, they grow before you in the mirror if you stare for too long. I’m tired of being at war. I’ll set out to see just how far I can push this vessel, let it know I’m not quiet, let it know that I’m not going to be docile in its wrath, but I’m prepared for what it throws and I’m ready to scream and throw a fit.
Dottie-may Aston
Musing upon the organic formations of a mollusc and the soft silhouettes of the female figure guided the creation of the series titled Golden Objectification. Gradual layers of clay accrued then carved into fine details, an instinctive process powered by imagination.
Two expressive figures stand adjacent to the other as they each amalgamate into molluscs. The humanoid features are obscured as the figures’ necks spiral off into an object. Removing their facial identity and substituting it with a shell has cast a detachment from the vulnerability of the nude. Working from a damaged shell, no larger than a fingernail, I have exalted the tiny subject into a more tactile article. The use of gold in my work is to symbolise greed and the human want for perfection. In the same way shells are plucked from the coast and soon forgotten about, beauty can be a novel fantasy. With cynical humour I have depicted the female form as a trophy, to be admired for their appealing aesthetic, yet it serves as a commentary on beauty standards and ideals.
Erin Donnelly
I am interested in ideas related to the home and memory, and their role in forming identity. I wanted to explore how to defy the imperative to follow a linear structure in personal narrative, as memory is itself often non-linear and fragmented. We often misremember elements of our past, and the way in which we assess our own experiences is informed not just by memory alone, but through the recollections and biases of others.
The combination of works chosen reflect the dualities involved in memory, the home and reflection. There is tenderness, familiarity and comfort, but equally a coldness. This presents a conflict and confusion within the work, mirroring the conflicting emotions brought about through the process of introspection, which adapts and shifts over time.
I felt drawn to examining the personal meanings associated with one’s own individual experiences and memories, but also the potential universality of those meanings. I want to portray personal memories and feelings in a way which is not overtly didactic, leaving room for misunderstanding through elements which are removed from their context or obscured in some way.
Mia Offelia
This is not a cult.
The internet affects every aspect of our existence, no part of daily life seems untouched by it. Social media has the power to influence us in so many ways, from our minds and behaviour to our relationships to others, ourselves, and our surroundings. We know the toxicity of our addiction to our devices but with more of the real world existing digitally, it’s almost impossible to escape. We are engulfed by trends, and controlled by algorithms, drowning in contradicting information and opinions daily. Whether we actively choose to participate or not we are inescapably affected by the indoctrination.
My work is an expression of my discomfort in the virtual world. I utilize audio as a way of immersion. Here I have used a combination of spoken word, keyboard, and a recording I took of honeybees in a hive. Using pastel pencils in monochrome pink tones I layer drawings, creating a blurred sense of beginnings and ends, where each figure starts and the other finishes, I convey my confusion and frustration of distorted realities that social media creates.
Jacqueline J Jones: ‘The Woman Who Lights Her Own Fire Is Free’
Measures 48 x 46 cms
It is acrylics on canvas.
It depicts two women in a rural setting.
One is lighting a fire, the other has a cage on
her head and is ascending on top of a building.
The painting consists of bright viridian green
to the left, the rest is a cool green. A luminous
pink sun at the top on the left. A tree of lilac
in the centre, two baskets at the bottom,
and above a mountain range in purple at
the back against an indian yellow mustard
sky.
Jacqueline Jones 2022
Julia Wilson: ‘The Wild Winds of Wales’
My piece of art is titled “The Wild Winds of Wales” that humorously illustrates a poem written by a poet friend, Paul McCue. Everything is exaggerated to depict how strong the Welsh winds can be such as leaves being blown by the ferocious winds, birds are being thrown all over the sky, two cows and a car are upside down, one covered in flowers, a cottage door has been blown away, a bewildered man inside the exposed doorway is watching the scene unfurl and sheep are up in a tree.A profile of a woman (digitally manipulated) in the foreground, bottom left corner, is gobsmacked, with her mouth wide open, at the destruction. Her focus is on the washing line, on which laundry is being ripped away, above the overturned and broken ceramic pots, (digitally enhanced with gradients) from which the flower contents have spilled, some ending up on an upturned cow. Nearby are two blown over buckets and an inside out umbrella. The words flow across the picture in a sweeping curve in differing sizes to give strength of movement, implying they too are being blown around.
Sara Louise Wheeler: The Sands of Hearing Time
My drawing is on A3 smooth white paper, using mostly graphite pencils in various shades of grey, but with some colouring pencils. It is a self portrait of my head and shoulders from the side, with my head tilted back and my eyes closed. I have shown my depigmented hair in very light shades of grey, silver, and ivory. My lips are pink, and my skin is the most pale shade of pink possible. I am wearing a thick dark grey, textured cardigan. Whilst everything else is realistic as it would be in a portrait, you can see through the side of my head above my ear. I have replaced my cochlear with an hourglass, or egg-timer. This is shaded brown and you can see the sands of time as they flow from the top of the hourglass, through the narrow funnel, and into the bottom section of the hourglass.
Farah Allibhai: ‘What would you say to the love that you are?’
This video starts with an image of a woman standing in front of an off white wall.. She is middle aged, her skin and eyes are brown. She has black curly hair stopping just before her shoulders. She is wearing a white top, earrings and blue eyeliner on her eye lids.
Her hands are clasped with her fingers interlace and held closely in front of her chest
The video is silent for the first 2 minutes.
Looking back and forth smiling at the camera and then frowning down at her hands, the artist attempts to release her fingers.
She twists and turns them.
After a few tries the artist silently sighs, turns her head to the side and leans her left ear towards her hands.
As she breathes in and out her hands begin to unclasp until finally her fingers fully release.
She smiles more and more as her hands and arms begin to effortlessly open wider as she exhales and return to their original position in front of her chest as she inhales.
Smiling with a look of satisfaction, the artist turns back to the camera, her hands together and her fingers interlaced.
She turns her hands outward revealing a heart shape made with her fingers.
She begins speaking. Each line is accompanied by a hand gesture.
I am so happy to be loved by one such as you
The artist unclasps her hands forming a circle in front of her before bringing them back to their original position.
I feel your grace
Her hands then part, the top palm facing down and the bottom palm facing up as she she glides them over each other whilst keeping them apart.
I feel safe
She then brings her hands towards her chest, palms facing inward before returning them to a heart shaped position.
I feel an effortless flow of abundance from you to me
Her hands then push out away from her with fingers loosely held before turning in and coming back towards her chest. She does this 3 times.
There is a warmth when I am next to you
She then places her palms on top of each other. They glide across themselves before she turns her hands over and glides them in the opposite direction.
A feeling of security
Her palms slide over each other once more until her fingers clasp.
An acknowledgement that no harm will come to me
The artist then places her hands in the prayer position. They open into flat palms that move forward in front of her
No harm is meant to me
She then pulls her hands towards her, palms facing inward one hand slightly raised above the other in a blocking position
In you I find the courage to be who I am
Her hands then return to a heart shape.
This complex
Her heart shaped fingers then twist, raising her right elbow and shoulder at the same time.
Crazy
She brings her hands back to centre apart and wiggles her fingers
Shy
The artist then turns her head to the side, bringing one arm into her chest and covers the side of her face with her other hand
Unknowing thing
She then turns to face the camera, bringing her hands to the centre infront of her. Her palms are upturned as she splays her fingers .
Im just an animal looking for a home
Smiling, she then turns away from the camera and looks around whilst with her right hand she makes a deer shaped head with her fingers that also looks around.. Her left hand is held below.
In you I find a shelter
The artist then moves her left hand over her right hand.
A warmth
Whilst looking down at both hands, she strokes the back of her right hand onto the palm of her left hand
A love never experienced before
Her hands then part and return to their original heart shaped position opening again to make a circle in front of her that returns to hug her. She breathes in and smiles, closing her eyes.
She becomes still
The image fades
The title comes up
Alana Tyson: ‘Waste of Time’
Waste of Time is a Crocheted Baby Blanket hung flat on the wall. It is 80cm tall and 100cm wide. It is light yellow in colour and has a crocheted scalloped edge the entire way around. The acrylic yarn used is chunky with a chenille texture, making it about 2cm thick. The words “Waste of Time” have been stitched into it using the same yarn. They are thin capital letters, not overt but slightly raised, and have been spaced in two rows to cover most of the blanket. “WASTE” takes up the entire first line and below is “OF TIME”
Jordan Sallis: ‘Freedom’
Freedom
2020
Organic charcoal ink on mulberry paper (Image printed on Wood)
105 paintings, 105 natural subjects, 105 days in lockdown by Jordan Sallis
105 black, circular illustrations are displayed on a wood panel, with 7 on each row. Each illustration was completed with organic handmade charcoal ink, creating a high contrast of black against the plywood background.
Each circle is filled with a black background with the natural subject highlighting in the centre. The circles are all the same, but the content of each one is different. Various forms from the natural world are within each circle including: leaves, plants, flowers, insects, amphibians, mammals and birds.
The first illustration is of the plant, London Pride, the last illustration is of the fruit, Blackberries. Bluebells, White-Tailed Bumblebee, Maidenhair Spleenwort, Wild Strawberry Flower and Japanese Knotweed are a few of the natural forms displayed.
Leila Bebb: ‘Spindle’
Spindle is a knitted Sculpture. It has been made using yarns of different colours, textures and thicknesses to create a tactile piece that imitates the movement of a spindle.
During lockdown my space and the materials I could use were limited. I started to knit. I found it restful but I soon discovered new techniques that enabled me to make abstract knitted pieces using different yarns. When lockdown ended, I rented my studio and my work changed and grew. It became bolder and more colorful and people seemed to like it. I began to have more success in exhibiting in galleries alongside non-disabled professional artists. My passion for making art was re-ignited and now I am involved in all sorts of projects that will allow more people to get to know my work. At last, I am beginning to be recognised as an artist and a professional.
Phililpa Walter: ‘The Saltmarsh Otter’
Salt marsh otter is a linocut print depicting an otter swimming underwater amongst the seaweed. The print is relieved in a burnt umber colour, which is a dark brown ink. The otter twists under the water trying to catch fish, which swim away in the opposite direction. The piece is finely carved with multitudes of white lines that crosshatch over one another to create the sense of the movement of water and white bubbles rise to the surface.
Roz Moreton: ‘Silent Voices: Pandemic Numbers 1&2’
Face Mask made of torn strips of recycled cotton, sculpted with handmade glue and mounted on handmade paper, made out of newspapers from 2020 and including cotton threads.
Tina Rogers: ‘You’ll Be The Death of Me’
A large canvas using only two colours, black and white and the tones and shades that come from their mixture.
The canvas is covered in collage and acrylic mediums which make the piece textured and 3D.
The collage is made up from the artists genuine filled in and submitted Personal Independence form (also known as PIP).
Some words are distorted and covered in paint, other words and sentences can be clearly seen – Such as:
Tell us how you manage toilet needs – Poor mobility – Pain in movement – walking sticks – long handled bottom wiper – Overwhelming Psychological distress – wheelchair user – dysfunction – anxiety and severe depression – loss of grip in both hands – suicidal thoughts –- condition has become worse over the pandemic – Trazadone, citalopram, Tramodol – gradual decline – tell us if you think this decision is wrong …..
Intertwined with the collage of deeply personal and distressing PIP text are several human figures of all sexes and ages. Dressed in black or partially clothed, their skin is stark white as they’ve been under deluge for years, their eyes (If open) gaze upwards and their faces are lined and worn, twisted into a grimace of agony and hopelessness at having to constantly prove their disability and go through this tortuous process.
In the background distance, figures free fall through the mire and misery of the Department of Work and Pensions paperwork.
In the forefront larger figures have sunk to the bottom of the piece, their ankles are bound together, their hands tied behind their backs, all the figures are drowning and suffocating surrounded by turbulent fluid paper.
Lia Bean: ‘Dreamer’
The painting is 60cm wide and 80cm tall. It is made with a combination of acrylic and watercolour paints. In the centre of the painting is the focal point. A semi-realistic head and neck painted in red and pink but the head has been split in half cutting off the eyes. From the top half of the head there are bright saturated blues, oranges and pinks branching from where the brain would be in abstract flowing shapes, bending and curving like vines. These colours swirl and drip around the rest of the canvas mixing and contrasting with each other like water. The largest branch reaching out from the head is in orange.
The shape starts off thin and grows bigger as it curves off into the top right of the canvas.
Framing the figure, there is one dominant shape in bright blue, swirling around the right of the figure and into the top of the head. On the left hand side there is a smaller orange line expanding and then shrinking off and merging into the other colours around it.
On top of the colourful shapes around the figure, there are small splatters of paint in red and pink. In the top right corner and bottom left corner there are spiraling circular lines made with bright red and blue. Finally, above the head, there are three eyes painted in red. Each one grows bigger than the last, staring in different directions.
Linda and Bethany Sutton: ‘Radiance’
It is an acrylic painting on canvas, the size is 20 x 16“. The painting is an abstract in portrait format. The background is a rich dark blue at the bottom fading upwards to a paler blue showing where a candle is shining. In the heart of the painting, is a large red and Naples yellow splash of vibrant colour evoking the heat and fire of the flames. These are made by wide fingermarks on the surface. The flames flash around the canvas with rich yellow and gold. Metallic gold and bronze climb up the picture spreading across the surface. Each flame has been made using imprints of a variety of leaves. There are bronze wide leaves, yellow and golden maple leaves and imprints of bamboo spiking through creating an explosion of energy. There are flecks of gold throughout and you feel the heat and power of the rebirth of creativity that is Aildanio.
Menai Rowlands: ‘Metamorphosis’
A surreal digital sketch of 5 purple heads with orange, purple and white patterns shooting out of them, similar to fireworks. The background is a light yellow.
Paddy Faulkner: ‘Helen & Sadie & Thier Winking Dog’
00:00:00:04 – 00:00:23:17
Speaker 1
Audio description for the piece, Helen and Sadie and their winking dog by artist Paddy Faulkner. This piece is presented on the screen. It is a digital image with one moving element. The moving element will be described shortly. The image is of an old color photograph from 1978 of two sisters, Helen and Sadie, in their living room at home.
00:00:25:01 – 00:00:49:15
Speaker 1
They appear to be in their sixties. They both have medium length white hair and both are wearing clear frame glasses. Helen on the left is wearing a dark blue dress and a light blue cardigan. She’s sitting in a wheelchair, leaning forward to hold the color of a brown dog. Only the dog’s head is visible at the bottom of the picture, and it has yellow shining eyes reflecting the light from the camera flash.
00:00:50:13 – 00:01:29:10
Speaker 1
The only moving element of the whole piece is the occasional winking of one of its yellow eyes. Sadie in the center of the image is sitting on the edge of a small sofa. She’s wearing a light blue cardigan and a light brown skirt. Sadie’s right arm is around Helen’s shoulder. They are both smiling broadly. Sadies left arm is putting a black and white dog, which is sitting alongside her on the sofa in front of two large red and pink shiny cushions and a large print library book by Dee Stevenson and entitled The House of the Deer on the Dark Brown Sideboard Behind the SOFA.
00:01:29:24 – 00:01:41:13
Speaker 1
It’s a framed photo of a dog. There are also two vases of dried flowers and there’s a small plastic bottle of holy water in the shape of Our Lady of Lourdes.
Ruben Lorca: ‘Portraits Before Death’
The piece has a rectangular format.
In it you can recognize a human frontal silhouette in the foreground. The protagonist of the work only has two eyes suspended over said silhouette but does not have a mouth, ears or nose.
The eyes look straight ahead towards the viewer and are the main elements of the piece.
Both are of different sizes and are not aligned horizontally. Said human shape shows a posture or foreshortening in which his shoulders are at different heights, giving a sense of imbalance and instability in the character.
Under one of the eyes, the smallest, at the height of what would be the cheek, there is a red rounded mass of paint that humanizes the character giving him an innocent or naive feature.
The background tends towards abstraction. It is almost entirely broken white, but traces of other colors also appear under it, greys, blues and yellows.
Technically different textures and materials are perceived , acrylic, oil and graphite among others.
The strokes and brushstrokes of the artifacts used are resounding, rough and very present, showing, scratches, marks and corrections throughout the work.
Rebecca F Hardy: ‘Aildanio’
‘Aildanio’ is a installation of 2D and 3D objects. At the centre of the artwork is a gold painted pole protruding from the wall. Roughly 200cm from the floor, placed on the pole is a curved form shaped like a pill in the colour blue made from spongy foam. To the left of the pole is another spongy foam in the shape of a curved pill, placed half on the floor and half at the base of the wall. Curved shapes and forms in royal blue, hot pink and gold is screen-printed on the form. As well as vinyl machine cut curved shapes in the same colours are on the form and on the wall above. To the left of this is a large see through sheet of thin plastic, taped to the wall using gold washi tape. Drawn on the plastic are anatomy drawings of the brain, in curved shapes in the colours hot pink, royal blue and gold. Back to the centre and the gold pole and to the right hand-side half way up the wall are 3 small wooden shaped ovals covered in screen-printed patterns in royal blue, hot pink and gold. Below are 3 hand cut vinyl shapes in the same colours.
Ceridwen Powell: ‘Oranges Are Not The Only Fruit’
Oranges Are Not The Only Fruit is about how there are many different ways of being in the world and difference should be valued and celebrated. Instead, what seems to happen is that people try to ‘pigeon-hole’ you and fit you into their way of being rather than respecting who you are
Booker T Skelding: ‘Odyssey’
My art piece is a two dimensional, monochrome, photographic image, named Odyssey. It is of portrait format and just under a metre tall. The image shows two thirds of the lower half of a closed external wooden door which is a tongue and groove, shed style, type door. The door is weathered, showing signs of rot and decay. At the bottom of the door, reaching out from underneath, a pair of hands can be seen between the gap below and the concrete slabbed floor. The left hand is reaching out slightly further than the right, the fingers are stretched out in a tense manner. The finger nails are short and the knuckles show wear and tear of a middle aged person, the left hand shows some ageing spots and a ring is worn on the middle finger. The wrists are covered by a worn semi-opaque, long-sleeved top, which appears to be oversized and too long in arms length, the material is of a raw natural hessian type cloth. The hands look strong and determined.
The image has a gritty, textured appearance, showing layers of peeling varnish. To the left of the door you can see it is framed by old porous brickwork. The monochrome edit amplifies the ageing of the door, highlighting the natural grain and knots.
Situated half way up the door on the left hand side is a silver type chrome, metal sliding bolt and latch, which is in the locked position, to the bottom right a rusted, decaying t-hinge suggesting the door would open outwards to the right.
The monochrome edit portrays strong black and white tone, resulting in the dynamic range creating an almost 3D effect.
Candice Black: ‘Burning Inside’
Burning Inside is an acrylic on canvas painting measuring 47cm by 57 cm, it’s portrait orientated, and it has a slim, smooth, black frame. The painting depicts a figure sat down, clutching their knees to their chest. The figure is painted in primary yellow, outlined with thick and heavy brush strokes in primary blue, against a background of primary red. The figure is nude. Across the figure’s body are flames of primary red paint that have an abstract quality to them. An expressive style is used to paint the figure. The figure fills the canvas of the painting.
Cerys Knighton: ‘Great Crested Grebe, Daffodils’
From the bottom of the page the bird’s body stretches up into her long neck, rendered in pencil in shades of warm grey and hints of pale reddish brown. At the top of her neck, the bird’s pale face looks out to the viewer with two big, bright red eyes. The centre of the face has a dark brown stripe stretching up from her beak to the top of her head with thin strands of feathers stretching upwards. The bird’s head is encircled by a thick ruff of orange, red, and dark terracotta feathers. Her beak stretches down between the two sides of the ruff, rendered in ink pointillism in black and grey ink – a technique of layering individual ink dots. Six daffodils, also in ink pointillism, encircle her neck. The first daffodil on the left-hand side peeks out from under the ruff, stretching outward. The second reaches out from around the bird’s neck and looks up into her face. The third daffodil sits below, looking out to the left-hand side. On the right-hand side, a daffodil looks towards the bird’s neck from underneath the ruff, with a second, mostly hidden daffodil peering out from beneath the first. The final daffodil has bent at the stem, facing down. The stems wind from around the bird’s neck, tangling slightly with one another. The drawing is just under A3 size, set in a white mount and a bronze frame with embossed leaves.
Clarrie Flavell: ‘Lighting the Roman Fires’
On the plinth in front of you is a small sculpture, under an oval glass dome, which is more than twice its height.
Made of lead, it takes the form of a bean shape, with a deep grey lustrous glimmer to its surface.
It stands on a short stump – a relic from the casting process, with the curved back facing downwards, and its two ends facing upward.
It weighs over 4.5 kilo, or nearly 10 and a half pounds, yet at around 3 inches high and 5 inches long, it could be contained by your palms, when your hands are placed together.
Scattered over its surface, though mostly confined to a patch on the lower half of it, are indentations that represent the abstract form of meadow flowers. The remainder of the sculpture appears smooth, yet it faintly shows the traces of the methods and materials that created it.
Deborah Dalton: ‘Green Lane, Abermule’
00:00:01:23 – 00:00:55:22
Speaker 1
Hello, I’m Deborah Dalton. And this is the audio description for my work, Green Lane Avenue. The work is monotone and predominantly gray with varying tones dark to light the work is in two pieces, placed above and below each other each, each piece measuring 178 centimeters wide by 84 centimeters high. Together the whole scene represents a bird’s eye view taken from a viewpoint above the scene, on a hill in Dolforwyn woods with the top piece looking left.
00:00:57:00 – 00:01:38:09
Speaker 1
Is a view of the valley looking towards Green Lane, and the bottom piece looking right shows the river and the village of Abermule, the Road’s River Canal and some houses are white and therefore stand out against the gray background. The drawn lines within the landscape are dislocated, often repeated and loose descriptions of the subjects. This is also true of the painted tones of subjects.
00:01:38:23 – 00:01:41:18
Speaker 1
They are not clear or distinct.