“Within my creative practice I employ traditional print processes but using paper porcelain. Both the process and the subject is inspired by the delicate designs and intricate detail found within the microscopic world. I also, often use multiples of thrown forms which serves to highlight the small differences between them, a different level of nuance revealed, you might say. The choice of placing the glaze inside the form is deliberate, a way to reference and highlight the almost `secret` nature the microscopic universe can have.”
“I am a sculptor who enjoys working with paper. I like the possibilities it offers for innovation and my approach is one of experimentation. My work is inspired by drawings and photographs and often relates to memory and the past. Sometimes I focus on significant objects that tell a story. At other times I Iook to the landscape for inspiration searching for the narrative of our relationship to the world around us.”
Lynne lives and works in Carmarthenshire.
Panspermia is a science hypothesis which proposes that life forms could survive the effects of space travel. Trapped in debris that is ejected into space after collisions between planets that harbor life, bacteria may travel dormant for an extended amount of time before colliding randomly with other planets, suitable for regeneration. Panspermia is not meant to address how life began, just the method that may cause its sustenance.
The short film `Panspermia`, examines the romantic aspects of the relationship between art practice and this science hypothesis.
Louise is originally from London and currently lives in Carmarthen.
“My practice is minimal in nature and rooted in the land. Using traditional processes and natural raw materials I explore what painting can offer as a way of thinking and reflecting on our natural environment and issues surrounding sustainability.
Work often begins when walking and spending time in a familiar environment.
Collecting stone, sands, shell and earth, sieving and grinding them for use in fresco or watercolour and building up painting grounds provide the basis for the making and thinking that follow.
What occurs naturally through process and its repetitive nature is important. It provides both the form and the content, and allows work to develop that explores the natural qualities of materials and our relationship to them.
Through colour and light, surface and depth, questions can arise on our connection to the land and our environment, on the provenance and sustainability of materials, and, not least, on our thinking around their use and their value.”
Amanda is currently based in Cardiff.
“I find inspiration in the majestic landscape of Wales as much as she is motivated by the patterns and mathematics of elementary physics, in particular String Theory. The notion of minute vibrating, intelligent strings being fundamental to life is astonishing, particularly when the world that we inhabit is so structured and disciplined. This dichotomy, the juxtaposition of Chaos and Order is essential to my work.
Love and Death are the two states that we all experience. I like to visualise these states as Chaos and Order, as Ephemeral and Structured lines.”
Helen lives and works in Ceredigion.
“For the last year I have been working with Glenys Cour, the painter, in Mumbles. It is a relationship that in many ways has supported my interest in fading flora, as she has been thinking and painting around the line from a Vernon Watkins poem (in Taliesin and The Mockers): ‘…. I observed the designing of flowers’.
Then I had an accident that made me consider how closely we live with near disaster on a very regular basis. The flowers in my garden and those along the lanes seemed more intensely enjoyable than ever.”
Prior to moving to Wales in 1989 Toril lived in Yokohama, California, Bristol and London. She grew up in Oslo, Norway and currently lives in Abergavenny.
Kathryn Campbell Dodd
Using textiles, video, sound, lighting and domestic objects, Kathryn Campbell Dodd makes sculpture, assemblages and installations that alter and analyse familiar things and our relationship to them – in re-assigning them as art works, they become compromised as functional objects and begin to exist as symbols of themselves.
Kathryn was born and raised in south London and currently lives in Carmarthenshire.
“a coat, a hair, a smell; somehow, something is there that holds something or someone who is not there, who is nothing”
“The impermanence of a person has always captivated my attention as I draw from my own experience with loss. I seek to test the permanence of a person in relation to materiality, wearing away a physical material that has been embedded with the physical traces of a person over time. Incorporating the wabi sabi principle, the notion of space – existence and nothingness – is a crucial element to the making process.
At once physical, yet so perishable, a slowly vanishing memory is left embedded in the materials epidermal layer that once enshrouded a person’s body. Through exploring materials, ranging from delicate, skin-like shoji tissue paper to harder materials such as ceramics, silver and plaster, I am endeavoring to test our physicality in terms of material, and evaluate and explore the reasons that a bodily relic offers such comfort in the face of loss and our attempts to ‘freeze’ these moments through shrines, gathering dust. In such a digitalized society, the materiality of my work is crucial. A feeling of being able to hold and caress the work, or sense an atmosphere surround us, is what I am striving to explore.
I want to present a universal object that is still so intimate to one person. The bodily residues of a person left behind; hair, saliva, skin all resonate of a person who was once there. Offering both a sense of comfort and unease, the bodily residues becomes a fragment of the body, something that is so impermanent, it eventually disappears.”
Laura graduated from Swansea Metropolitan University in 2011 and currently lives in Cardiff.
Shauneen is originally from Northern Ireland and currently lives in Carmarthenshire.
A love and fascination with the process and meaning surrounding textiles fuels the work of this emerging artist. Recent work marvels at the potency and commonality of experience of cloth throughout a lifetime and the passing down of textiles processes through the generations. A common thread in her work is a ‘micro’ inspection of detail. Often the pieces are understated, yet reward the viewer on closer inspection. She has developed a relationship between textiles and photographic media where traditional textile processes such as dyeing and lacework are combined with photography to create installations. Photographs and films created using optical devices such as Camera Obscura provoke another way of looking at material presence. The fabric projected in the camera obscura looks tangible though it is made of light. The experience of the camera obscura challenges the virtual/digital world while connecting to an historical association with cloth in painting, and an age old yet magical looking-device.
Seren is originally from Cardiff and currently lives in Carmarthenshire.