Eisteddfod Genedlaethol Cymru Caerdydd 2018 Y Lle Celf 3 Cynnwys Contents

Rhai Cwestiynau Hynod – o’r Gadair 4 Some Extraordinary Questions – from the Chair Thomas Williams

Y Lle Celf 2018 8 David Alston

Sylwadau’r Detholwyr ● Selectors’ Statements 10 Karen MacKinnon ● Ingrid Murphy ● Marc Rees

Y Fedal Aur am Gelfyddyd Gain ● The Gold Medal for Fine Art 18

Y Fedal Aur am Grefft a Dylunio ● The Gold Medal for Craft and Design 20

Ysgoloriaeth Artist Ifanc ● Young Artist Scholarship 22

Gwobrau Eraill ● Other Awards 23

Arddangoswyr ● Exhibitors 24

Pensaernïaeth ● Architecture 35

Datganiad y Detholwyr Pensaernïaeth ● Architecture Selectors’ Statement 38 Kay Hyde ● Alun Jones

Ysgoloriaeth Bensaernïaeth ● Architecture Scholarship 46 Paul Harries ● Sara Hedd Ifan

Ddoe + Heddiw: 80 Mlynedd o Gasglu Celfyddyd Gyfoes Cymru 50 Then + Now: 80 Years of Collecting Contemporary Art for Wales

Y Senedd a Chelf ● The Senedd and Art 54

Noddwyr Balch Medal Aur am Bensaernïaeth Eisteddfod Genedlaethol Cymru

Cymru...wedi’i dylunio’n well

Cysylltwch â’r Comisiwn dcfw.org

Delweddau / Images Gweni Llwyd 4 5 Rhai Cwestiynau Hynod – o’r Gadair

Nid peth hawdd yw ysgrifennu rhagymadrodd i’r catalog hwn. I ddechrau, nid wyf wedi gweld yr arddangosfa y mae’r catalog yn cyfeirio ati eto a daw fy unig wybodaeth am yr hyn a gynhwysir ynddi drwy ddyfalu yngl yˆn â phwy fydd wedi ymgeisio a pha waith sydd wedi neu ddim wedi ei ddewis. O gofio hynny, roedd hi’n ymddangos i mi mai’r peth mwyaf defnyddiol i’w wneud fyddai ysgrifennu ychydig am y broses a arweiniodd at greu’r catalog hwn a chynnig ychydig o fy sylwadau fy hun am yr Eisteddfod a’r Lle Celf. Dydw i ddim yn credu fy mod yn gwybod yn iawn beth oedd yn digwydd pan fynychais y cyfarfod cyntaf mewn ysgol yng ngogledd Caroline Taylor James Moore Gethin Wyn Jones Caerdydd. Roedd Sera a Catrin am fynychu Trugaredd / Knick-knack ‘Dream Cargoes’ Dirgelwch pur / You’re a mystery to me ac roeddwn i’n meddwl y gallem fynd am ddiod wedyn. felly, wedi fy synnu braidd y gadawyd fi i elfennau allweddol yr Eisteddfod, hyd oed. Mae Ffotogallery, y sefydliad Nid yw fy Nghymraeg i’n dda. O ran sgwrsio, mewn i’r ystafell hyd yn oed. eleni. Pwy o’r rheiny sydd wedi ymweld â’r a leolir yng Nghaerdydd sy’n cefnogi Eisteddfod Genedlaethol mewn blynyddoedd ffotograffiaeth a chyfryngau seiliedig ar lens, rwy’n iawn. Rydw i hyd yn oed wedi llwyddo Ond dyna ni, dyna wnaethon nhw. i grafu drwy ambell i daith oriel a gweithdy. blaenorol sydd heb drefnu i gwrdd â hefyd yn 40 oed eleni a bydd yn agor gofod Fodd bynnag, pan ddaw hi i iaith celf Prif ddiben y stori hon, rwy’n credu, yw ei bod yn ffrindiau ar y Maes neu wedi trafod oriel newydd yng nghanol y ddinas yn fuan. fiwrocrataidd arbenigol, rwy’n cloffi. Ar y noson dangos pa mor hygyrch yw celf a’r celfyddydau cryfderau neu wendidau’r Maes o gymharu Dyma ddetholiad bychan o’r pen-blwyddi y gwn honno, fodd bynnag, llwyddais i ddeall digon yng Nghymru. Yr hygyrchedd a’r â’r flwyddyn flaenorol? i amdanynt. Yna ceir Arcêd Caerdydd gyda’i ddemocratiaeth. Tybed a oes yna unrhyw ofod newydd Campfa, Rat Trap, Spit and am yr hyn oedd yn digwydd, buom yn sgwrsio Sut ydym ni, yn yr arddangosfa arbennig, yn ddathliad mawr arall o’r celfyddydau, Sawdust, mae Chapter yn dal i ddarparu dros beint, ac yn sydyn roeddwn yn aelod o adlewyrchu lleoliad unigryw Y Lle Celf? A sut cenedlgarwch, cenedlaetholdeb ac iaith sydd gwasanaeth pwysig, mae oriel TEN, a’r orielau Is-bwyllgor Celfyddydau Gweledol Eisteddfod yr ydym yn trafod ymgorffori Y Lle Celf i graidd ar gael i bawb yn y genedl fel yr Eisteddfod masnachol, Kooywood a Martin Tinney i gyd yn Genedlaethol Caerdydd. Yn fuan wedyn ein Llywodraeth yn adeilad y Senedd? Genedlaethol. parhau er gwaethaf y cyfyngiadau ariannol a cynhaliwyd cyfarfod cyntaf y pwyllgor ac, yn ôl Mae’r pwyllgor wrth ei fodd bod Megan phwysau anghyffredin ein cyfnod. Dydw i heb pob golwg, roedd angen Cadeirydd arnom; nid Nid yw cynnwys iaith yn y rhestr hon, gyda llaw, Broadmeadow wedi cytuno i ateb y cwestiwn ddechrau sôn am y stondinau dros dro, a’r oedd yn dasg anferth ond roedd angen enw. yno i beri rhaniad nac wedi’i fwriadu i gau cyntaf. Gan weithio gyda chymunedau lleol arddangosfeydd unwaith yn unig, y gwyliau, Ambell i besychiad, gwingo mewn seddi, allan. Mewn byd lle mae’n ymddangos bod ac artistiaid eraill yng Nghaerdydd, mae hi, Lle Gallery, Caerdydd Gyfoes, y stiwdios eistedd ar ddwylo, syllu ar y llawr, yna caf gic grymoedd pwerus yn benderfynol o leihau wrth i mi ysgrifennu fy llith, yn datblygu agored… mae’r rhestr yn ddiderfyn. gan Sera o dan y bwrdd, mae Catrin yn gwneud gwahaniaeth, dylai goroesiad y Gymraeg fod Arddangosfa Arbennig na welwyd mo’i llygad awgrymog arnaf o ben arall yr ystafell, yn achos dathlu i bawb ohonom, beth bynnag thebyg. Bydd arddangosfa Carnifal y Môr Felly, rwy’n gobeithio ein bod wedi ymdrin yn ac yn sydyn fi yw’r Cadeirydd. Doedd gen i ddim fo’r geiriau a ddefnyddir gennym i gyfathrebu. yn sicr yn ddathliad. dda â rhai cwestiynau hynod. Mae llawer nad syniad beth fyddai’n ei olygu, beth fyddem yn ydym wedi ei wneud. Felly y mae hi bob amser. Mae bod yn rhan o’r Eisteddfod wedi bod yn Sut gallwn ganfod ffyrdd i adlewyrchu ei wneud, ond dyna ni, pam lai... Ond drwy wneud yr hyn a wnaethom, rwy’n siwrnai, i mi ac aelodau eraill yr is-bwyllgor, y amrywiaeth, cynnydd, bwrlwm, yn ogystal â gobeithio ein bod wedi llwyddo i gynrychioli Rydw i wedi mynd trwy’r rhan fwyaf o’r broses detholwyr a’r artistiaid sy’n gysylltiedig. Teimlaf hanes, ein prifddinas? Ymhlith pethau eraill, rhywfaint o’r cyffro a deimlir gan bawb sy’n ddilynol mewn ychydig o niwl. Yn rhannol, mae ei bod hi’n rhyfeddol y gwneir y siwrnai hon bob sut gallwn ddathlu goroesiad sefydliadau gysylltiedig â’r celfyddydau, yn ein his-bwyllgor, hyn oherwydd mater yr iaith (er dydw i ddim yn blwyddyn, bod y cyffro, yr archwilio, y celfyddydol yng Nghaerdydd? Cynhelir ein yn strwythur ehangach yr Eisteddfod ac ar meddwl fy mod wedi gwneud yn rhy ddrwg) darganfod, y creadigrwydd ac, weithiau, y Heisteddfod yn yr un flwyddyn ag y mae g39, draws Cymru gyfan. Cyffro yngl yˆn â’r hyn sy’n ond yn bennaf rwy’n credu, oherwydd fel Cymro rhwystredigaeth yn digwydd flwyddyn ar ôl oriel fawr ac adnodd a gynhelir gan artistiaid, digwydd a chyffro am yr hyn sydd i ddod. a fu’n byw y tu allan i Gymru rhwng 6 a 53 oed, blwyddyn. Dim Biennales i ni! yn dathlu ei ben-blwydd yn 20 oed. Mae Made mae’r Eisteddfod Genedlaethol wastad wedi in Roath, yr wˆ yl gelfyddydau ryfeddol, hynod Eleni, fel pob blwyddyn arall rwy’n si wˆ r, rydym teimlo fel canolbwynt i fy nghenedligrwydd a’r leol a bywiog iawn yn 10 oed. Mae Oriel Canfas Thomas Williams wedi wynebu rhai heriau penodol: lle i mi leoli fy hiraeth. Bum mlynedd ar ôl yn Nhreganna, sy’n cael ei chynnal gan Cadeirydd dychwelyd i Gymru rwy’n chwarae fy rhan, er Nid oes gan Eisteddfod Caerdydd Faes gydweithfa o artistiaid, wedi goroesi i fod yn 40 Is-bwyllgor Celfyddydau Gweledol cyn lleied fo hynny. Roeddwn i, ac rwy'n dal traddodiadol ac mae’r ‘Maes’ wedi bod yn un o 6 7 Some Extraordinary Questions – from the Chair

Writing an introduction to this catalogue isn’t, part of this question. Working with local it seems to me, a straightforward thing to do. communities and other artists in Cardiff, she is, as I write, developing an Arddangosfa For a start, I haven’t yet seen the exhibition that Arbennig like no other. Carnifal y Môr will, the catalogue refers to yet and my only literally and metaphorically, make quite a knowledge of what it will contain comes from splash. guesswork about who will have submitted and what work may or may not have been selected. How do we find ways to reflect the diversity, the progression, the vibrancy, as well as the history, Given that, it seemed to me that the most useful of our capital city? Amongst other things, how do thing to do would be to write a little bit about the we celebrate the survival of arts organisations in process that has led up to the creation of this Cardiff? Our Eisteddfod is happening in the catalogue and to offer a few of my own thoughts same year that g39, a major artist run gallery about the Eisteddfod and Y Lle Celf. and resource, celebrates its 20th birthday. Made To begin at the beginning, I don’t think I really in Roath, that extraordinary hyper-local, super- knew what was going on when I went to that vibrant arts festival is 10. Oriel Canfas in Canton, first meeting in a school in north Cardiff. Sera run by an artists’ cooperative, has survived to be and Catrin were going and I thought we might 40. Ffotogallery, the Cardiff based organisation go for a drink afterwards. supporting photography and lens based media, My Welsh is not good. Conversationally, I’m fine. is also 40 this year and opens a new, city centre, I’ve even managed to limp through a couple of gallery space. This is just a small selection of the gallery tours and workshops. But, when it comes Casper White birthdays I know about. Then there’s Arcade Mae e jyst yn teimlo’n ych / It just feels gross to specialist bureaucratic and art speak, I Cardiff with its new space Campfa, Rat Trap, Spit flounder. On that evening though, I got enough and Sawdust, Chapter c arries on providing an of what was going on, we chatted over a drink, sub-committee, the selectors and the artists important service, TEN, and the commercial and suddenly I’m on the Visual Arts Sub- involved. I find it extraordinary that this journey galleries, Kooywood and Martin Tinney all of committee of the Cardiff National Eisteddfod. Anna Lewis is repeated every year, that the excitement, which continue inspite of the extraordinary The first meeting followed soon afterwards and, ‘Mae hi’n dangos ei hun’ / ‘Elle se montre’ exploration, discovery, creativity and, financial constraints and pressures we live under. apparently, we needed a Chair; not a big deal sometimes, the frustration, happens year after I haven’t even started on the pop-ups, the one-offs, but we have to have a name. Coughs, shuffles, But there we go, they did. year. No Biennales for us! the festivals, Lle Gallery, Cardiff Contemporary, the open studios…the list goes on. sitting on hands, a distinct lack of eye contact, The main point of this story is, I think, that it This year, as I’m sure every year, we have had then Sera kicks me under the table, Catrin nods speaks of the accessibility of art, of the arts, some particular challenges: So, some extraordinary questions which, I hope, at me from the other side of the room, and I’m it. in Wales. The accessibility and the democracy. we have dealt with well. There is much which The Cardiff Eisteddfod has no Maes in the usual Without a clue about what it entails, about what I wonder if there is another major national we have not done. Of course, there always is. sense and “the Maes” is one of those, until now, we’ll do, but, well, why not... celebration of the arts, of nationhood, of But in doing what we have, I hope that we have key Eisteddfod concepts. Who, of nationality and, of language, which is as managed to represent something of the I’ve gone through most of subsequent process the people who have visited the Eisteddfod available to everybody in the nation as the excitement felt by all of those involved with the in a slight daze. Partly, this is because of the Genedlaethol in previous years, has not National Eisteddfod. arts, in our sub-committee, in the wider language thing (although I don’t think I’ve arranged to see friends “on the Maes” or Eisteddfod structure and across all of Wales. done too badly) but mostly, I think, because, The inclusion of language on this list, by the discussed the relative merits of the Maes Excitement about what is happening and as a Cymro living away from Wales between way, is not divisive or intended to exclude. In a this year compared to last? excitement about what is to come. the ages of 6 and 53, the Eisteddfod world in which powerful forces seem intent on How do we, in the special exhibition, reflect Genedlaethol has always felt like a focus for ironing out difference, the survival of Cymraeg the unique location of Y Lle Celf? And, how do my nationality and the place for me to site my is, should be, a cause of celebration for all of us, we negotiate incorporating Y Lle Celf into our hiraeth. Five years after arriving back in Wales regardless of the words we use to communicate. and I’m playing my part, in however small a centre of government at the Senedd? The Thomas Williams way. I was, still am, slightly baffled that they Involvement in the Eisteddfod has been a committee is delighted that Megan Chair would even let me in the room. journey, for me and for the other members of the Broadmeadow has agreed to answer the first Visual Arts Sub-committee 8 9 Y Lle Celf 2018 Y Lle Celf 2018

Dros y blynyddoedd diwethaf mae Y Lle Celf, in nations great or small. In some political oriel ‘pop up’ yr Eisteddfod Genedlaethol, wedi environments the art speaks truth so loudly to ymddangos mewn nifer o lefydd ‘safle benodol’, politicians, it has to be covered up, as on megis yng nghaeau amrywiol Y Fenni, Llanelli, occasion Picasso’s Guernica tapestry in the Bodedern, a hyd yn oed yn ehangder Headquarters of the United Nations in New York, tanddaearol hen fyncer diwydiannol yng Nglyn has been. Ebwy. Yn y flwyddyn pan fo’r Eisteddfod gyfan This year is also the Year of Wales in Brittany’s yn ysgwyddo ethos rhyw ‘pop-up’ cynhwysol Interceltic Festival in Lorient. The formation of mae Y Lle Celf yn ymddangos yn y gofod mwyaf Pendevig a Festival project “super band”, in its heriol posib o ran trefniadau ond hefyd un o’r constituent parts and its new boisterous whole, llefydd mwyaf arwyddocaol i ni fel cenedl, sef will mark the opening weekend in Lorient and adeilad y Senedd. Nid peth dieithr yw celf yn y later in the week appear back in Cardiff in the ddeddfwrfa hon, comisiynwyd celf ar gyfer Eisteddfod, whilst the visual Arts exhibition in gwead yr adeilad ei hun, arwydd o’r tryloywder Lorient, curated by Chris Wilson and entitled sydd ei angen ar ein sefydliadau cyhoeddus. Cynefin , brings back into one place a parallel Cred rhai gwledydd y dylai celfyddyd fod yn “super-band” of visual artists. Cynefin presents gefnlen gyson i’w trafodaethau, yn ddylanwad Justine Allison past Gold Medal winners at the Eisteddfod and gwaraidd ond hefyd yn fodd i’w herio. Yn ystod Symudiad, ffurf a ffordd / Movement, way and form perhaps even more pointedly for our times, Ivor y flwyddyn ddiwethaf, mae’r Cynulliad wedi Davies’s own work and a selection of artists who cynnig rhodd ddwyffordd i’r Senedd Fflemaidd agored Y Lle Celf sy’n ei dyb ef, yn cyfleu ysbryd have been ‘Ivor Davies Prize’ winners. In 2002, o ddarlun gan y diweddar Osi Rhys Osmond, gweithredu a’r frwydr i warchod y Gymraeg, Davies dedicated his Gold Medal cheque to delwedd sy’n fawl i’r tirwedd ond hefyd yn diwylliant a gwleidyddiaeth. founding an award each year for that work alarnad i greithiau rhyfel neu ddinistr Ar Faes Eisteddfod Y Fenni, bu Will Gompertz, in the Y Lle Celf open exhibition which best amgylcheddol - penderfyniadau sy’n faen felin gohebydd Celfyddydau’r BBC yn rhyw bendroni Billy Bagilhole conveys the spirit of activism in the struggle ar ysgwyddau llywodraethwyr pob cenedl - ar ein cenedl, a thybiodd mai’r agosaf y daw’r Dynion gwyllt / Wild men for Welsh language, culture and politics. bach a mawr. Mewn rhai amgylcheddau genedl honno at greu Amgueddfa Gelfyddyd gwleidyddol, mae celf yn ddrych mor rymus ar In the Abergavenny Eisteddfod, the BBC Gyfoes yw mewn digwyddiad blynyddol, dros y gwir nes peri i wleidyddion eu cuddio, megis In recent memory, Y Lle Celf, the pop-up gallery frontman for all things cultural, Will Gompertz, dro, ble mae celf fentrus a heriol yn cael ei yr achlysur pan orchuddiwyd brodwaith of the National Eisteddfod, has sprung up in mused on a nation, whose closest stab at a gasglu, a hynny, yn llythrennol mewn cae yng Guernica Picasso ym mhencadlys Y some “site specific” places, ubiquitous in the National Contemporary Art Museum seemed to nghefn gwlad. A’r hydref hwn bydd y sgwrs Cenhedloedd Unedig yn Efrog Newydd. varied fields of Abergavenny, Llanelli, Bodedern be a temporary coming together of the cutting honno ynghylch cael lle parhaol ond newidiol and even the subterranean vastness of an edge of art, literally, in a field in the country. Blwyddyn Cymru yw hi eleni yn yr Wˆ yl Ryng- ar gyfer celfyddyd fyw yn tanio unwaith eto, ac obsolete industrial bunker in Ebbw Vale. In a And this autumn, that debate about a Geltaidd yn Lorient, Llydaw. Bydd Pendevig sef yn cael ei thrafod ar lawr y Senedd ei hun. Mae year when the Eisteddfod as a whole adopts the permanent but changing place for living art prosiect “super band” yn perfformio fel ei angen i Gymru fynd i’r afael â’r pwnc a bydd ethos of the inclusive pop-up, Y Lle Celf appears will again be a focus for attention and debate elfennau unigol, yn ogystal ag yn ei gyfanrwydd rhaid i unrhyw ddatrysiad gynnwys llawer o’r in the most logistically challenging and not least in the Senedd itself. Wales needs to gorawenus. Byddant yn nodi’r penwythnos nodweddion a welir eleni yn yr arddangosfeydd resonant of national spaces - the Senedd. Art has resolve this and the solution it finds will need agoriadol yn Lorient ac yn dychwelyd i ar y Maes ac yn Lorient. Fel y llefydd hyn, bydd never been far from this seat of legislature, in its to embrace many of the characteristics of the berfformio’n Eisteddfod Caerdydd. Yn Lorient yn ofod ar gyfer celfyddyd weledol, llawn fabric from the start with commissions based on exhibitions on the Maes and in Lorient this hefyd bydd cyfle i weld Cynefin , arddangosfa angerdd, yn lle ar gyfer trafodaethau, lle the transparency of what good government year. A place for visual art of passion, debate, o Gelfyddyd Weledol a gasglwyd ynghyd gan poblogaidd, lle pryfoclyd ond un i fynd i’r afael should be. Some countries believe that a popular place, a provocative and engaged Chris Wilson, dyma ryw fath o “super-band” â phethau hefyd, sy’n trafod ein ffawd ein legislators should have art continuously as a space, talking of ourselves but knowing arall, y tro hwn yn llawn o artistiaid gweledol. hunain ond yn ymwybodol bod y themâu sy’n back drop, as a civilising influence but also that what is local to Wales is also global Mae Cynefin yn cyflwyno rhai o gyn-enillwyr lleol i Gymru, hefyd yn rhai byd-eang a as a provocation. In the last year, the Assembly and relevant. Medalau Aur yr Eisteddfod ac yn fwy perthnasol perthnasol. fyth o bosib yn ein dyddiau ni, bydd gwaith yr here has proffered a reciprocal gift to the Wales needs that space for its visual arts. Mae Cymru angen y gofod hwn ar gyfer ei artist Ifor Davies yn ogystal â gweithiau cyn- Flemish Parliament of a painting of the late Osi chelf weledol. enillwyr ‘Gwobr Ifor Davies’ yn cael eu Rhys Osmond, an image, both hymning a landscape and lamenting its violation through David Alston harddangos. Yn 2002, defnyddiodd Davies y siec David Alston conflictual or environmental degradation - all Arts Director oedd yn rhan o wobr y Fedal Aur i sefydlu Cyfarwyddwr y Celfyddydau decisions that weigh heavily on any legislature Arts Council of Wales gwobr newydd ar gyfer gwaith y arddangosfa Cyngor Celfyddydau Cymru 10 11 Sylwadau’r Detholwyr Selectors’ Statements

Mae’r broses ddethol bob amser yn ymwneud â wrth gwrs, yn dylanwadu ar ganfyddiad. Gan ei byd lle mae’n systemau gwleidyddol yn methu a dod o hyd i waith sy’n datgan lle rydym ar hyn o fod wedi’i gysylltu â chalon llywodraeth, gellir ninnau’n ceisio goresgyn pynciau anferth yn ein bryd, yr eiliad hon, yn y diwylliant hwn, yn y byd yn hawdd ddehongli’r gwaith yn rhywbeth hamgylcheddau trefol megis darparu tai rydym yn byw ynddo. A’r hyn y mae’r gwaith yn gwleidyddol, hyd yn oed os nad dyna’r bwriad. cymdeithasol a gwasanaethau cyhoeddus, ei ddweud wrthym am rywbeth mewn ffordd ‘Bydd y gwaith yn anochel yn dod yn wleidyddol mae’r farddoniaeth hon yn rymus gan ei bod nas gwelsom o’r blaen. drwy’r cyd-destun,’ yn ôl Marc Rees. fel petai’n ceisio ail-ddelweddu ffyrdd newydd o gyfanheddu a byw. I bob detholwr hon oedd prif ystyriaeth y Nid y ffaith yn unig bod y safle yn gartref broses o ddethol. Mae Arddangosfa Agored llywodraethu ond y ffaith ei fod yn adeilad Mae’r pob dydd yn thema sy’n amlygu drwy’r yr Eisteddfod Genedlaethol yn Y Lle Celf bob sy’n datgan yn uchel am ei ddyluniad a’i arddangosfa, ceir llawer o waith sy’n dathlu’r amser yn eiliad mewn amser, saib blynyddol adeiladedd ei hun. Mae pensaernïaeth syml bydol, sy’n gwneud y cyffredin yn metronom ymarfer artistig Cymru, cyfle i roi Richard Rogers yn tystio i werthoedd defnydd anghyffredin. Gellir gweld hyn yng ngwaith trosolwg ar ymarfer presennol, i aros, edrych cryf ac egwyddorion strwythurol. Gyda’i André Stitt John Rowley sy’n defnyddio gweddillion a myfyrio, ac efallai hyd yn oed ddychmygu ehangder anferth o wydr, y to cromen enfawr Model synthetig ar gyfer economi ôl-gyfalafol mewn domestig cyfarwydd i gipio hunanbortreadau dyfodol. mae’n balimpsest o’i wneuthuriad dyluniol ei bydysawd cyfochrog / Synthetic model for a post dan fwgwd ar ffôn - dyddiadur uwch-arwr y hun, mae’n wrthgyferbyniad felly i gynfas capitalist economy in a parallel universe gwrthrych cartref a daflwyd - neu sy’n amlwg Fel detholwyr mae’r her honno’n gymhleth, gwag y ciwb gwyn. Ni ellir cystadlu gyda’r yn nelweddau Gethin Wyn Jones a mae dewis llai o artistiaid a gwneuthurwyr o cynnig model amgen i ni, model dyfodol ôl- fath adeilad ond gellir derbyn ysbrydoliaeth o’i gynhyrchwyd yn gain a hudol o sigaréts a blith cannoedd o ymgeiswyr cryf yn dasg anodd gyfalafol wedi ei lunio neu ei gynhyrchu mewn ethos, ac mae rhai gweithiau yn yr arddangosfa minlliw, neu’r olygfa ddomestig sydd newydd ynddi’i hun. Ond i ychwanegu at y cymhlethdod bydysawd cyfochrog. Mae André Stitt yn yn traethu gyda’r un iaith frodorol. ei gadael gan Zoe Preece o fwrdd gwag ac arferol hwn, mae arddangosfa eleni wedi’i lleoli atseinio’r traddodiad hir o artistiaid a llenorion offer cegin a bentyrrwyd. yn y Senedd. Dyma safle o gyfoeth pensaernïol Mae llestri manwl Steve Buck a weithiwyd â sydd wedi creu bydysawdau cyfochrog i ac ystyriaethau gwleidyddol sy’n cynnig ystod llaw a’i deyrngarwch i’w tarddiad bron yn ddangos y byd sy’n bod a hefyd archwilio beth Fodd bynnag, mae yna elfen ‘pob dydd’ i’r o gyfleoedd a heriau nas ceir yn lleoliad adlewyrchu ceugrymedd modylaidd y to sydd sy’n bosibl. A welwn yn y gwaith hwn ddyfodol arddangosfa hon sy’n sôn am ddieithrwch, traddodiadol arferol y safle dros dro ar y Maes. uwch eu pen. Yn yr un modd mae effeithiau iwtopaidd, dinaslun rhithiol? Fel y darn golygfeydd picnic aneglur Jo Berry sy’n cyfleu gweledol rhithiol cerameg addurnedig Jin Eui mynediad i weddill yr arddangosfa mae’n hiraeth a hefyd beth malais, heb sôn am Mae panel o dri detholwr yn galluogi i unrhyw Kim yn atseinio gweddau llinellol tonnog yr cynnig y cyfle i’r sawl a wêl y gwaith i symud bennau a anffurfiwyd ac a ddilëwyd yng anghydweld gael ei ddatrys yn gyflym, ac yn adeilad. Yn eu tro mae ffurfiau metel bwrw drwy dir Lilipwtaidd a dychmygu dyfodol ngwaith portreadu Nerea Martinez de Lecea. wir ni chafwyd llawer. Fodd bynnag, gyda thri Cath Fairgrieve ac Andy Griffiths yn cyfleu’r newydd yng nghartref ein llywodraeth, dinas Daw’r plant a ddarlunnir yma o ddelweddau detholwr o gefndiroedd amrywiol a phob un â’r bensaernïaeth a’r gofod sydd ynddo, er bod newydd a bywyd pob dydd newydd. a godwyd o gatalogau dillad. Mae’r artist i un duedd i fod yn eiriog, cafodd pob hynny drwy arteffactau ar raddfa ddomestig. ddechrau yn chwilio am wisgoedd penodol fel y penderfyniad ei drafod yn frwd ac yn faith; Mae gwaith André Stitt hefyd yn ymwneud â’r I’r gwrthwyneb mae blwch â chaead Laura ffrog cymundeb ond wedyn mae’n rhaid i’r osgo gan arwain at fewnwelediadau traws- union ddeunyddiau sy’n ein hamgylchynu yn Lillie yn fyd ar ffurf fechan, mae’n rhoi i chi rym fod yn iawn, osgo’r corff yw popeth - heb eu pen ddisgyblaethol hyfryd a bil coffi go fawr dros ein dinasoedd, y strydoedd, ffyrdd, tai sy’n duw hollalluog wrth i chi godi pob caead a syllu mae’r cliwiau i bersonoliaeth ac emosiwn i gyd ddyddiau o ystyried. Er i ni rannu’r un briff o’r llunio ein hamgylcheddau trefol ac yn ail- ar y gwagleoedd haniaethol, sy’n awgrymu yng nghorff y gwrthrych nas adwaenir. Caiff eu dechrau cafodd y lleoliad ei hun wahanol ddychmygu’r gofodau hyn. Ceir artistiaid eraill tirlun neu berfedd. Mae’r cyfansoddiadau cyffredinedd yna ei drawsffurfio gan yr artist yn effaith ar ein proses ddethol unigol. I ddechrau yn yr arddangosfa hon y mae eu gwaith yn hyn a grëwyd yn hardd ar ffurf negyddol a rhywbeth arallfydol a dieithr o hardd. Mae’r roedd y gofod yn golygu llai i Karen MacKinnon ystyried gwleidyddiaeth a barddoniaeth nodweddion defnydd yn awgrymog ond fyth portreadau yn baentiadau digidol unwaith yn sydd o’r farn ‘bod gwaith da wastad yn dod i’r deunyddiau mewn gofod. Mae Kelly Best yn yn ddidactig, gyda’r caeadau pwysedig yn unig, wedi’u creu gan ddefnyddio Photoshop, yn wyneb, a’r gobaith yw y bydd yn cryfhau troi ei lluniadau yn gerfluniau 3D sy’n sefyll sicrhau na allwch ond gweld un neu ddau ar gweithio gyda lliw fflat ac offer brwsh yn ymhellach pa ofod bynnag y byddwch yn ei rhywle rhwng lluniad a helaethwyd a cherflun, y tro, mae’n rhaid i un byd gau er mwyn gweld hytrach na deunydd ffotograffig. Gwna Nerea roi ynddo.’ heb ymddiheuro am feddiannu gofod - fel un arall. Martinez de Lecea balet o liwiau ar y ‘dudalen’ cerddi rhwng gofodau adeiledig ein bywyd Roedd Ingrid Murphy yn gogwyddo tuag at ac wrth ddefnyddio offer brwsh mae’n Felly o ystyried golygweddau ar fydoedd eraill bob dydd. Mae’r synergedd rhwng Kelly Best waith oedd yn ceisio creu deialog gyda ychwanegu, symud, cyfuno a phaentio’r a chyd-destun gwleidyddol y gofod nid yw’n a Mark Houghton yn amlwg iawn. Mae’r ddau dyluniad a nodweddion cryf amgylchedd yr ddelwedd mewn aml-haenau gan ei adeiladu syndod mai’r gwaith cyntaf a welwch wrth fynd yn chwilio am elfennau a ddiystyriwyd yn ein arddangosfa, tra bod Marc Rees yn llwyr fel y byddai paentiwr ‘go iawn’ yn ei wneud. i mewn i’r arddangosfa yw ‘Model Synthetig ar dinasluniau a’n tirweddau. Mae’r ddau yn ymwybodol o islais gwleidyddol y gofod a’i afael Yma mae’r testun cyffredin iawn hwn o fywyd gyfer Economi Ôl-gyfalafol mewn Bydysawd gwrthod ac yn torri ar draws elfen anorfod neu ei effaith bosibl ar y gwaith a ddetholwyd. bob dydd yn cael ei darfu arno. Daw’r gwaith Cyfochrog’, André Stitt. Mae gweld y gwaith hwn bywyd bob dydd y cyfeiria Mark Houghton ati yn seicolegol drwm ac yn annaearol, ac mewn Wedi ymweld â’r Senedd cyn, yn ystod ac wedi’r yn y Senedd yn wir bryfoclyd gan fod y teitl yn fel “gallu barddoniaeth weledol y syml i rhai enghreifftiau yn waith sy’n ymylu ar y gwaith o ddethol, yn y bôn ni wnaeth cyfeirio at fethiant cyfalafiaeth. Mae’r artist yn ddyrchafu amherthnasedd y cyffredin.” Mewn ddylanwadu’n ormodol ar y broses ond fe fydd, swreal a’r pantomeimaidd. 12 13 Sylwadau’r Detholwyr Selectors’ Statements

Mae’n ddiddorol gweld y fath dystiolaeth o’r Yn gynnar iawn yn ein trafodaethau a’n nghanol toreth o ddelweddau’r rhyngrwyd. annaearol yn yr arddangosfa, oherwydd yr hystyried cafodd y tri ohonom ein gwefreiddio Mae enillydd Y Fedal Aur am Grefft a Dylunio, annaearol yw pethau bob dydd a aeth yn gan waith Nerea Martinez de Lecea – enillydd Zoe Preece yn cynnal y thema hon, ond yn ei ddieithr, y pethau bob dydd sydd bellach yn Y Fedal Aur am Gelfyddyd Gain eleni. Mae hymarfer hi y bwlch yn y domestig sy’n dod yn annirnadwy. Fel detholwyr fe’i gwelwn yn glir gwaith yr artist yn pontio ffotograffiaeth, fideo, ofod ei harchwiliadau. Yn y gwaith ‘Presenoldeb fel arwydd o’r amserau, mae’n dweud wrthym gosodiad, amlgyfrwng a lluniadu. Ceir dawn Materol’ mae fel petai gofod domestig pob dydd am y lle yr ydym ynddo ar hyn o bryd. wirioneddol yn ei gweithiau sydd wedi eu creu’n y gegin wedi dod yn lledrithiol - llwy yn crogi yn harddwych, y cyfeirir atynt ganddi fel yr aer, yn llawn i’r ymylon, cwpanau wedi eu Wrth edrych ar faterion cyfoes byddai’n paentiadau digidol. Crëir y ‘paentiadau’ llwytho’n sigledig yn barod i gwympo a malu’n esgeulus i beidio ag edrych ar y gynrychiolaeth drwy osod lliw fflat yn haenau ar yr arwyneb deilchion, mae cytleri a chyllell yn rhan o’r o ran rhyw o fewn yr arddangosfa. Er bod a defnyddio offer brwsh i ychwanegu, cyfuno bwrdd pren wedi’u hasio, ac nid ar wahân iddo. y cydbwysedd yn gyfartal ymhlith yr a symud y paent i ddynwared paentio ‘go iawn’. Fel llawer o’r gweithiau yn yr arddangosfa hon arddangoswyr, mae pob un o’r enillwyr yn Nid dim ond y cyflawniad dawnus ond y mae rhywbeth annaearol am y sefyllfa fenywod a thra bod hyn wedi digwydd drwy cynnwys rhyfeddol, y portreadu sy’n gwrthod ddomestig y mae’n ei chreu. Mae gwaith Zoe haeddiant yn hytrach na bwriad, fel sydd dadlennu’r portread cyflawn. Gwelwn gyrff, Preece wedi’i greu yn goeth ac mae ei elfen gydag unrhyw arddangosfa gyfoes mae thema dillad ac osgo’r person ond mae’r pen a’r wyneb ddomestig i’w weld ar unwaith ond eto wedi’i ffeministaidd gref a chwareus ar brydiau yn wedi ei rwbio allan yn dreisgar. Mae rhywbeth darfu arno, nid yw pethau’n hollol iawn, llwyau amlwg ynddi. sinistr yn y dileu hwn, yn enwedig gan fod yn crogi yn yr aer, offer cegin wedi dod yn rhan Yn ffilmiau Adele Vye a Jennifer Taylor cawn llawer o’r portreadau hyn yn rhai o blant. Nid o’r bwrdd ac mae diffyg pobl yn awgrymu ein y fenyw unig yn y tirlun. Rhyw fath o fenyw yn unig fod y berthynas rhwng y gwyliwr a’r bod yn dystion i’r eiliad ar ôl y parti neu fod fytholegol yn brwydro gyda’r elfennau. Yn ffilm ddelwedd yn cael ei tharfu arni ond hefyd y rhywbeth brawychus wedi digwydd. gref Adele Vye gwelwn hi’n ymgiprys gyda berthynas rhwng yr artist a’r model. Mewn byd Drwy eu gwaith mae artistiaid Arddangosfa haenau o ffabrig, mae’n teimlo’n ddefodol, mae o ystumio digidol mae ei gwaith yn codi Agored eleni yn dweud am y lle’r rydym yn awr, gwir harddwch yma ond hefyd mae’n mynegi cwestiynau am hunaniaeth, dilysrwydd a tharfu. yr eiliad hon, y byd hwn. Ac er bod hwn yn galar, efallai chwalfa bywyd y dosbarth Tra bod Nerea Martinez de Lecea yn tarfu ar ac edrych fel detholiad o bethau cwbl digyswllt, gweithiol ôl-ddiwydiannol. Mae teimlad o yn chwarae gyda ffurf draddodiadol portreadu ceir themâu allweddol sy’n rhedeg drwy’r anobaith ac oferedd yn ei gweithgaredd gwyllt. Ray Church a phaentio, mae enillydd yr Ysgoloriaeth Artist siwrnai o un gwaith i’r nesaf. Mae’r chwilio am Yng ngwaith Jenny Taylor gwelwn fenyw yng Arfau mawr / Big weapons Ifanc eleni Gweni Llwyd wedi ymdrwytho’n llwyr ystyr ac am rymusiad yn ein bywydau bob dydd nghanol natur, ond yma gwelwn hi gyda’i ffurf yn y presennol. Drwy ei gweithiau fideo mae’n yn treiddio drwy’r gweithiau hyn i gyd, ac mae’r bogeiliol, yn gwingo, yn ymgordeddu ac yn cael frwdfrydedd crefyddol, ceir rhyw fath o hiraeth ein peledu ni gyda llwyth o ddelweddau sy’n cwestiynau yn atseinio’n uchel drwy’r Senedd. ei geni. Eto gwelwn ffigur matriarchaidd ond y am y gorffennol hwn, hiraeth am eu gobaith a’u ymddangosiadol ddigyswllt a naratifau o’n hoes Cwestiynau am hunaniaeth yn oes y dechnoleg tro hwn mae’n ddyfodolaidd, mae’n fath cred, collwyd yr agosatrwydd. Mae hyn hefyd ddigidol. Llyfrynnau cyfarwyddyd, lluniau o ddigidol, myfyrdodau ar ddyfodol gofodau gwahanol o fenyw a ddychmygir, menyw y yn adrodd am newid - gwnaed y samplau hyn o anifeiliaid anwes ac anifeiliaid eraill, pethau trefol a’n cymunedau ac ystyriaethau ynghylch dyfodol ond ddim ond mewn ffurf heb recordiadau o’r 1960au, efallai o fewn cof rhai a blewog, pryfed, eiliadau dwfn, trosiadau o pethau bob dydd a’r hiraeth hwnnw sy’n ein nodweddion wyneb, estron yng nghlwm wrth fydd yn ymweld â’r arddangosfa ond eto mae’n wryweidd-dra a benyweidd-dra wedi’u gosod hannog nid dim ond i ganolbwyntio ar gynnydd heneb neu wrth dirnod yn impio i’w hanes. teimlo’n ddigyswllt llwyr â’r byd yr ydym yn byw ynddo nawr. Fel llawer o’r gweithiau yn yr gyda ac yn erbyn ei gilydd. Mae fel petai’n ond i ystyried syniadau a ffyrdd o fyw o’n Fodd bynnag, ceir hefyd bresenoldeb arddangosfa hon codir cwestiynau am ceisio gwneud synnwyr a churadu’r llwyth o gorffennol a all ein helpu i greu dyfodol newydd gwrywaidd clir iawn o’r gorffennol, samplu sain hunaniaeth. Wedi’u cyfosod yn erbyn wybodaeth rydym yn palu drwyddi bob dydd a gwell. Mae llawer o’r artistiaid, fel y bydd pregethau gan Glyn Roberts sydd â’r teitl crefyddolder samplau Glyn Roberts, er i greu ystyron a llwybrau newydd i wahanol artistiaid bob amser yn ei wneud, yn herio’r Pregeth. Yn y darn sain hwn ceir ymdeimlad o’r enghraifft, ceir eitemau cerameg gan Ray ffyrdd o weld. Mae’n artist ifanc heriol sy’n ffurfiau celf a dderbynnir yn gyffredinol - ‘hwyl’ a brofwyd ac a fynegwyd gan bregethwyr Church. Yn ei waith mae'n cyfosod delweddau adnabod byd heddiw i’r dim ac roeddem yn paentiad digidol, lluniad a helaethwyd, y efengylaidd y gorffennol, y llais gwrywaidd a rhywioledig iawn ar gawgiau atig Gwlad awyddus iawn i’w chefnogi wrth iddi symud ffiniau rhwng celf gain a chrefft. Ond efallai, dominyddol y gymuned, sy’n dweud am Groeg. Rhwng y patrymau cain ar y gwaith ymlaen gyda’i harchwiliadau. yng nghyd-destun y Senedd, y berthynas rhwng agwedd berfformiadol diwylliant a chymdeithas barddoniaeth a gwleidyddiaeth sy’n fwyaf cerameg hardd hwn, sy’n ffurfiol a choeth, Mae pob un o enillwyr eleni rywfodd yn sôn am y capeli Cymreig a’r nerth emosiynol o’u mewn. amlwg a diddorol ac mae’n rhoi gwefr gwelwn ddynion mewn trywsanau rhwyllog, y gofod rhwng pethau - boed yn waith Nerea Er ein bod yn edrych drwy lygad hiraeth mae ychwanegol i ddetholiad eleni. dillad milwyr, wedi’u harfogi â gynnau a Martinez de Lecea lle mae’r bylchau rhwng gwaith Glyn Roberts yn ein hatgoffa nad yw phidynnau â chodiad. Mae’r gweithiau hyn yn ffurfiau confensiynol portreadu yn troi’n cymunedau yn dod ynghyd bellach, a thra nad gableddus a chwareus, yn haerllug a phryderus haniaethol gyda’r pennau a ddilëwyd, neu ydym yn dueddol mwyach i gael ein llorio gan yn eu gor-wrywdod. waith Gweni Llwyd sy’n chwilio am ystyr yng Karen MacKinnon, Ingrid Murphy, Marc Rees 14 15 Sylwadau’r Detholwyr Selectors’ Statements

The selection process is always about mirrors the modular concavity of the roof they Best and Mark Houghton is most evident. Both discovering the work which communicates sit beneath. The optical illusory effects of Jin Eui are searching for overlooked elements in our where we find ourselves right now, this moment, Kim's decorated ceramics similarly echo the cityscapes and landscapes. Both refuse and this culture, in this world that we live. What is this undulating linear aspects of the building. Whilst disrupt the inevitability of the everyday of what work telling us in a way in which we have not the cast metal forms of Cath Fairgrieve and Mark Houghton refers to as “a visual poetry of seen before? Andy Griffiths, speak of architecture and the the commonplace to elevate the irrelevance of space it contains, albeit through domestic scale the ordinary”. In a world in which our political For each selector this was the key tenet of the artefacts. Conversely Laura Lillie’s lidded box systems are failing and we are attempting to selection process. The National Eisteddfod Open piece gives you a world in miniature, it affords overcome huge issues in our urban Exhibition at Y Lle Celf is always a moment in you an omnipotent god like position as you lift environments, such as the provision of social time, the annual stopping of the ticking each lid and peer at the abstract voids, housing and public services, this poetry is metronome of artistic practice in Wales, a suggestive of landscape or viscera, these powerful as it seems to attempt to reimaging chance to provide an overview of current beautiful executed compositions of negative new ways of inhabiting and living. practice, to stop look and reflect, and perhaps form and material characteristics are suggestive even imagine a future. The everyday is also an emergent theme but never didactic, the weighted lids ensuring throughout the exhibition, there is much work As selectors that challenge is complex, to select you can only see one or two at any time, one which celebrates the mundane, that makes fewer artists and makers from hundreds of world most close to view another. the ordinary extraordinary. This can be seen in strong applicants is a task in itself, but to add So considering views of other worlds and the the work of John Rowley using familiar domestic to this usual complexity, this year’s exhibition political context of the space it is therefore not debris to capture masked self portraits on a is located in the Senedd. Here’s a site of both surprising that the first work you encounter as phone - a diary of a a superhero of the architectural richness and political connotations you enter the show is André Stitt’s ‘A Synthetic discarded household object - or evidenced which offers a range of opportunities and Model for a Post-Capitalist Economy in a Parallel in the exquisitely and seductively produced challenges not found in the traditional site of Universe’. To see this work in the Senedd is images of the cigarettes and lipstick by a temporary space on the Maes. indeed provocative, as the title alludes to the Gethin Wyn Jones, or the recently vacated A selection panel of three makes for quick failure of capitalism, the artist offers us an domestic scene of Zoe Preece’s empty table resolution of any disagreements, and in truth Jin Eui Kim alternative model, a post-capitalist model future and stacked utensils. OPrych - Gwrthdroad VI / OPject - Inversion VI there were not many. However, with three conceived or produced in a parallel universe. However there is an ‘everyday’ in this exhibition selectors from diverse backgrounds all prone to André Stitt echoes the long tradition of artist and influence perception. By being associated with that speaks of a strangeness, the blurred picnic verbosity in equal measure, every decision was writers who have created parallel universes to the seat of government the work can easily be scenes of Jo Berry which speak of nostalgia but energetically discussed at length; resulting in show the world that is but also to explore what is read as political even if that was not intended. also some malevolence, not to mention the some wonderful cross disciplinary insights and a possible. In this work do we see our utopian ‘The work will by default become politicised by disfigured, erased heads of Nerea Martinez de rather large coffee bill over days of deliberation. future, a virtual cityscape? As the gateway piece the context,’ insists Marc Rees. Lecea’s portraiture. The children featured here Although we shared the same brief from the to the rest of the exhibition it offers the viewer the are from found images, mostly from clothing outset the site alone had a different impact on It is not merely the fact that the site is the seat chance to move through a Lilliputian land and catalogues. The artist at first searches for our individual selection process, in the first of governance but the fact that it is a building imagine a new future in our seat of government, specific garments such as the communion dress instance the space mattered less to Karen that speaks so loudly of its own design and a new city and a new everyday. but then the pose has to be right, the body MacKinnon who maintains, ‘the strong work construction. Richard Rogers architecture André Stitt’s work is also concerned with the very language really is everything - without heads shines through, and hopefully whatever space attests to strong material values and structural materials that surround us in our cities, the the clues to personality and emotional cues are you put it in the work becomes more charged.’ principles. With a huge expanse of glass, the streets, roads, houses which form our urban all in the physicality of the unknown subject. vast dome roof of wood it’s a palimpsest of it’s Ingrid Murphy veered towards work, which environments and the reimagining of these Their ordinariness is then transformed by the own design making and therefore the opposite sought a dialogue with the strong design and spaces. There are other artists in this exhibition artist into something other worldly and strangely to the blank canvas of the white cube. One material qualities of the exhibition environment, whose work considers the politics and poetics of beautiful. The portraits are one-off digital cannot compete with such a building but whilst Marc Rees was fully aware of the political materials in space. Kelly Best turns her drawings paintings, created using Photoshop, working one can draw inspiration from its ethos, and undertones of the space and its potential into 3D sculptures that stand somewhere with flat colour and brush tools rather than certain works in the show do speak with the empowerment or impact on the work selected. between an expanded drawing and a photographic material. Nerea Martinez de same vernacular. Having visited the Senedd before, during and sculpture, unapologetically taking up space - Lecea makes a palette of colours on the ‘page’, after selection, in essence it did not unduly Steve Buck’s methodically hand built vessels and like poems between the constructed spaces of and using brush tools adds, removes, blends influence the process but will, of course, allegiance to their material provenance almost our everyday lives. The synergy between Kelly and paints the image in multiple layers, 16 17 Sylwadau’r Detholwyr Selectors’ Statements

building it up as much as a 'real' painter would. Very early on in our discussions and heads or Gweni Llwyd’s work searching for Here the very ordinary subject matter of deliberations we were all captivated by the meaning between a mass of internet images. everyday life is disrupted. The work becomes work of Nerea Martinez de Lecea to whom we The winner of the Gold Medal for Craft and psychologically charged and uncanny and in award the Gold Medal for Fine Art. This artist’s Design, Zoe Preece continues this theme but in some instances, such as the work of Zena work spans photography, video, installation, her practice it is the space of the domestic which Blackwell verging on the surreal and the multimedia and drawing. There is real skill in becomes the site of her explorations. In the work pantomimic. her beautifully executed works which she refers ‘Material Presence’ it is as if the everyday to as digital paintings. The ‘paintings’ are domestic space of the kitchen has become It is interesting to see such evidence of the created by layering flat colour onto the surface magical - a spoon fixed in mid air, filled to the uncanny in the show, for the uncanny is the and using a brush tool to add, blend, and brim, cups precariously stacked ready to fall everyday, which has become strange, the remove the paint mimicking ‘real’ painting. and smash, cutlery and a knife are part of not everyday which has become unknowable, as It is not just the skilful execution but the separate to the wooden table, fused together. selectors we clearly see it is a sign of the times, extraordinary content, the portraiture that Like many of the works in this exhibition there it speaks to where we find ourselves now. refuses to reveal the full portrait. We see the is something uncanny about the domestic scene In looking at contemporaneous issues it would bodies, the clothes, the gestures of the person she creates. Zoe Preece’s work is exquisitely be neglectful not to look at the gender but the head and face are violently erased. made and immediately recognisable in its representation within the exhibition, while the There is something sinister in this erasure domesticity but again disrupted, things are not gender balance is equal amongst the exhibitors, especially as many of the portraits are children. quite right, spoons held in mid air, kitchen all three winners are female, and while this was Not only is the relationship between the viewer utensils have become part of the table and the truly arrived at by merit rather then design, as Zena Blackwell and in the image disrupted but that between absence of people suggests that we are with any contemporary exhibition there is a Tu fewn, byrddau, bys / Interior, boards, finger the artist and model. In a world of digital witnessing a moment after the party or even strong, at times, playful feminist theme evident manipulation her work raises questions about something sinister has taken place. in the show. identity, authenticity and disruption. voice of the community, that speaks to the Through their work the artists in this year’s Open In both the films of Adele Vye and Jennifer performative aspect of Welsh chapel culture Whilst Nerea Martinez de Lecea disrupts and Exhibition certainly talk about where we find Taylor’s we have the lone woman in the and community and the emotional charge plays with the traditional form of portraiture ourselves now, this moment, this world. And landscape. Some form of mythical female found within. Although we are looking through and painting, this year’s winner of the Young whilst this may seem a very disparate selection warrior battling with the elements. In Adele Vye’s the lens of nostalgia Glyn Roberts’ work reminds Artist Scholarship Gweni Llwyd is completely there are key themes which run through the powerful film we see her grappling with a us that community doesn’t come together immersed in the here and now. Through her journey from one work to the next. The search swathe of fabric, it feels ritualistic, there is real anymore, and while we are no longer prone to video works she bombards us with a mass of for meaning and empowerment in our everyday beauty here but it also speaks of mourning, be taken over by religious fervour, there is a seemingly unrelated images and narratives lives run through all of these works and these perhaps the post-industrial destruction of certain longing for this past, for their hope and from our digital age. Instruction manuals, questions resonate loudly throughout the working class life. Her frenetic activity has an belief, there has been a loss of that pictures of pets and other animals, fluffy things, Senedd. Questions of identity in the age of air of desperation and futility. In Jenny Taylor’s collectiveness. This also speaks of change - these insects, visceral moments, tropes of masculinity digital technology, reflections on the future of work we see a woman placed within nature but samples were made from recordings from the and femininity set with and against one another. urban spaces and our communities and here we see her with her umbilical form, 1960s, maybe within some viewers living It is as if she is attempting to make sense of and considerations about the everyday and a writhing, contorting and coming into being. memory but yet it feels completely unrelatable curate the mass of information we all wade nostalgia which encourage us not just to focus Again we see a matriarchal figure but this time to the world we live in now. Like many of the through each day to create new meanings and on progress but to reflect on ideas and ways of it is futuristic, it is an imagined different kind of works in this exhibition there are questions about pathways to different ways of seeing. She is a living from our past which can help us to create woman, a female of the future but only in form, identity. Set against the religiosity of Glyn challenging young artist with her finger firmly new and better futures. Many of the artists, as without facial features an alien tethered to an Roberts’ sampling for example are the ceramics on the pulse of today’s world and we very much artists always do, are challenging the accepted ancient monument or landmark grafting on to by Ray Church. In his work he juxtaposes highly wanted to support her as she moves forward forms of art – digital painting, expanded its history . sexualised imagery on Greek attic ware vases. with her explorations. drawing, the lines between fine art and craft. Between the delicate patterns on these But perhaps in the context of the Senedd it is the However there is also a very distinct male Each of this year’s award winners somehow beautifully made ceramics, formal and elegant, relationship between poetry and politics which presence from the past, the sound sampling of speak of the space between things – whether we see men in fishnets, combats, armed with is most evident and interesting and brings an sermons by Glyn Roberts entitled Pregeth. In this this is Nerea Martinez de Lecea’s work where guns and erect penises. These works are added charge to this year’s selection. sound piece we get a sense of the ‘hwyl’ the gaps between the conventional forms of blasphemous and playful, assertive and anxious experienced and expressed by the evangelical portraiture become abstract with the erased in their hyper masculinity. Karen MacKinnon, Ingrid Murphy, Marc Rees preachers of yesteryear, this male dominated 18 19 Y Fedal Aur am Gelfyddyd Gain The Gold Medal for Fine Art

Gwobr Prize

Y Fedal Aur am Gelfyddyd Gain a £5,000 The Gold Medal for Fine Art and £5,000 (James (Ymddiriedolaeth James Pantyfedwen) Pantyfedwen Foundation) to be awarded at i'w rannu yn ôl doethineb y detholwyr. the discretion of the selectors.

Detholwyr Selectors

Karen MacKinnon, Ingrid Murphy, Marc Rees Karen MacKinnon, Ingrid Murphy, Marc Rees

Dyfarnwyd y wobr ganlynol: The following prize was awarded:

Nerea Martinez de Lecea Y Fedal Aur am Nerea Martinez de Lecea The Gold Medal Gelfyddyd Gain for Fine Art and a £5,000 £5,000

ENILLYDD Y WOBR CELFYDDYD GAIN WINNER OF THE FINE ART AWARD

Nerea Martinez de Lecea Nerea Martinez de Lecea Treorci Treorci Treorci

Plentyn A, (77 x 58cm), paentiad digidol £900 Child A, (77 x 58cm), digital painting £900

Plentyn A, (77 x 58cm), paentiad digidol £900 Child A, (77 x 58cm), digital painting £900

Plentyn A, (77 x 58cm), paentiad digidol £900 Child A, (77 x 58cm), digital painting £900

Plentyn A, (77 x 58cm), paentiad digidol £900 Child A, (77 x 58cm), digital painting £900

Plentyn A, (77 x 58cm), paentiad digidol £900 Child A, (77 x 58cm), digital painting £900

Nerea Martinez de Lecea Plentyn A / Child A 20 21 Y Fedal Aur am Grefft a Dylunio The Gold Medal for Craft and Design

Gwobr Prize

Y Fedal Aur am Grefft a Dylunio (Aled Tudur The Gold Medal for Craft and Design (Aled Evans, Yr Eglwys Newydd) a £5,000 i'w rannu Tudur Evans, Whitchurch) and £5,000 to be yn ôl doethineb y detholwyr. awarded at the discretion of the selectors.

Detholwyr Selectors

Karen MacKinnon, Ingrid Murphy, Marc Rees Karen MacKinnon, Ingrid Murphy, Marc Rees

Dyfarnwyd y wobr ganlynol: The following prize was awarded:

Zoe Preece Y Fedal Aur am Zoe Preece The Gold Medal for Grefft a Dylunio Craft and Design Zoe Preece a £5,000 and £5,000 Archif hiraeth (Presenoldeb Materol) / An archive of longing (Material Presence) ENILLYDD Y WOBR CREFFT A DYLUNIO WINNER OF THE CRAFT AND DESIGN AWARD

Zoe Preece Zoe Preece Penarth Penarth

Y modd y mae’r ddaear yn Pris i’w drafod The way the earth Price on application cofio ein cyrff remembers our bodies (Presenoldeb Materol), (Material Presence), (150 x 90 x 80cm), (150 x 90 x 80cm), walnut pren collen Ffrengig An archive of longing Price on application Archif hiraeth Pris i’w drafod (Material Presence), (Presenoldeb Materol), (150 x 90 x 100cm), (150 x 90 x 100cm), porslen porcelain

Zoe Preece Y modd y mae’r ddaear yn cofio ein cyrff (Presenoldeb Materol) / The way the earth remembers our bodies (Material Presence) 22 23 Ysgoloriaeth Artist Ifanc Gwobrau Eraill Young Artist Scholarship Other Awards

Ysgoloriaeth Artist Ifanc Young Artist Scholarship Gwobr Josef Herman - Dewis y Bobl Josef Herman Award - The People’s Choice Sefydlwyd yr ysgoloriaeth hon er mwyn This scholarship has been established to Gwobr £500 (Sefydliad Celf Josef Herman) Prize: £500 (Josef Herman Art Foundation) hybu celf a chrefft yng Nghymru. Dyfernir yr promote art and crafts in Wales. It is awarded i’w dyfarnu i’r darn neu’r casgliad mwyaf awarded to the most popular piece or collection ysgoloriaeth i'r ymgeisydd mwyaf addawol er to the most promising candidate to enable him poblogaidd o waith yn yr Arddangosfa Agored. of work in the Open Exhibition. mwyn ei alluogi i ddilyn cwrs mewn ysgol neu or her to pursue a course in a recognised school Gwahoddwn ni chi i edrych yn fanwl ar y We invite you to take a careful look at all the goleg celf a dylunio cydnabyddedig neu or college of art and design or to attend master gwaith i gyd cyn penderfynu beth yw eich work before coming to a decision concerning ffefryn. Rhowch enw’r artist ar y papur your favourite piece. Write the name of the artist fynychu dosbarthiadau meistr. Mae'r classes. The scholarship is open to those under pleidleisio. Bydd y bleidlais yn cau am 6.00pm, on the voting slip. Voting will close at 6.00pm, ysgoloriaeth yn agored i'r sawl dan 25 years. nos Wener, 10 Awst er mwyn cael amser i gyfrif Friday, 10 August in order to allow for counting 25 oed. The winner of the scholarship will also be y pleidleisiau a chysylltu â'r enillydd. the votes and contacting the winner. Yn ogystal, cynigir gofod i enillydd yr offered space in next year's Lle Celf at the Cyhoeddir enw’r enillydd yn Y Lle Celf am The winner’s name will be announced at ysgoloriaeth yn Y Lle Celf yn Eisteddfod National Eisteddfod of Wales, Conwy 3.00pm, ddydd Sadwrn, 11 Awst. 3.00pm, Saturday, 11 August. Genedlaethol Cymru, Sir Conwy 2019. County 2019. Enillydd Eisteddfod Genedlaethol Cymru Winner at the National Eisteddfod of Wales Ynys Môn 2017 Anglesey 2017 Ysgoloriaeth Scholarship £1,500 (Er cof am £1,500 (In memory of Julia Grifiths Jones Llan-y-bri, Sir Gaerfyrddin Julia Griffiths Jones Llan-y-bri, Carmarthenshire Aneirin a Mari Talfan Aneirin and Mari Davies gan Elinor a Talfan Davies by Gwobr Ifor Davies Ivor Davies Award Geraint) Elinor and Geraint) Gwobr: £600. Dyfernir am y gwaith yn yr Prize: £600. Awarded for the work in the Open Arddangosfa Agored sy’n cyfleu ysbryd y frwydr Exhibition that conveys the spirit of activism in Detholwyr Selectors dros iaith, diwylliant a gwleidyddiaeth Cymru. the struggle for language, culture and politics Karen MacKinnon, Karen MacKinnon, Cyhoeddir enw’r enillydd am 2.00pm, ddydd in Wales. The name of the winner will be Ingrid Murphy, Ingrid Murphy, Iau, 9 Awst. announced at 2.00pm, Thursday, 9 August. Marc Rees Marc Rees Enillwyr Eisteddfod Genedlaethol Cymru Winners at the National Eisteddfod of Wales Dyfarnwyd yr The Young Artist Ynys Môn 2017 Anglesey 2017 Ysgoloriaeth Scholarship is Peter Davies Tynemouth Peter Davies Tynemouth Artist Ifanc i awarded to Peter Finnemore Pont-iets Peter Finnemore Pont-iets Gweni Llwyd Gweni Llwyd Christine Mills Y Foel, Llangadfan Christine Mills Y Foel, Llangadfan Pete Telfer Ceinws Machynlleth Pete Telfer Ceinws Machynlleth

Gweni Llwyd Gweni Llwyd Gwobr Tony Goble Tony Goble Award Caerdydd Cardiff Gwobr: £500 (er cof am Tony Goble). Rhoddir am Prize: £500 (in memory of Tony Goble). Given for waith, gan artist sy’n cyfleu ysbryd barddonol y work, that conveys the poetic spirit of this Celtic Fideo Video genedl Geltaidd hon, sy’n arddangos yn yr nation, by an artist exhibiting in the Open Gro Chwipio 2:31 Gro Chwipio 2:31 Arddangosfa Agored am y tro cyntaf. Exhibition for the first time. munud minutes Enillydd Eisteddfod Genedlaethol Cymru Winner at the National Eisteddfod of Wales Ynys Môn 2017 Anglesey 2017 O.S.B. 3:41 munud O.S.B. 3:41 minutes Marged Elin Owain Caernarfon Marged Elin Owain Caernarfon Llwch 2:28 munud Llwch 2:28 minutes

Artecs 2:51 munud Artecs 2:51 minutes Gwobr Bwrcasu Contemporary Art Society for Wales Cymdeithas Gelfyddyd Gyfoes Cymru Purchase Prize Dyfernir gwobr bwrcasu gan Gymdeithas The Contemporary Art Society for Wales will Gelfyddyd Gyfoes Cymru i waith yn yr award a purchase prize to a work in the Open Arddangosfa Agored. Ychwanegir y gwaith at Exhibition. The purchased work will enter the gasgliad CGGC i’w drosglwyddo maes o law i CASW collection for subsequent distribution to oriel gyhoeddus yng Nghymru. a public gallery in Wales. Gweni Llwyd Enillydd Eisteddfod Genedlaethol Cymru Winner at the National Eisteddfod of Wales Delweddau fideo / Video images Ynys Môn 2017 Anglesey 2017 Stephen West Llangadfan Stephen West Llangadfan 24 25 Arddangoswyr Exhibitors

Jo Berry Caerdydd

Di-deitl (2011), (85 x 80cm), £850 acrylig ar ganfas Untitled (2011), (85 x 80cm), acrylic on canvas

Di-deitl (2012), (60 x 70cm), £900 acrylig ar ganfas Untitled (2012), (60 x 70cm), acrylic on canvas

Di-deitl (2013), (60 x 75cm), £950 Justine Allison acrylig ar ganfas Symudiad, ffurf a ffordd / Movement, way and form Untitled (2013, (60 x 75cm), acrylic on canvas Justine Allison Billy Bagilhole Di-deitl (2018), (90 x 120cm), £1,200 Castellnewydd Emlyn Pwllheli acrylig ar ganfas Symudiad, ffurf a ffordd I, £2,280 Adra, (70 x 70cm), acrylig ar ganfas DAW/NFS Untitled (2018), (90 x 120cm), (uchder o 3 i 35cm), porslen Home, (70 x 70cm), acrylic on canvas acrylic on canvas Movement, way and form I, Dynion gwyllt, (100 x 80cm), DAW/NFS Kelly Best (height from 3 to 35cm), porcelain acrylig ar ganfas Caerdydd Symudiad, ffurf a ffordd II, £1,049 Wild men, (100 x 80cm), acrylic on canvas Fector, (20 x 220 x 220 x 115cm), DAW/NFS (uchder o 3 i 23cm), porslen a chlai du Kelly Best Y lleuad gwag, (70 x 70cm), £1,600 dur meddal Movement, way and form II, (height from Fector / Vector acrylig ar ganfas Vector, (20 x 220 x 220 x 115cm), 3 to 23cm), porcelain and black clay Hollow moon, (70 x 70cm), mild steel Symudiad, ffurf a ffordd III, £1,772 acrylic on canvas Zena Blackwell (uchder o 3 i 22cm), porslen a chlai du Caerdydd Movement, way and form III, (height from 3 to 22cm), porcelain and black clay. Ffrils, streips a chwyrliadau £750 (30 x 45cm), acrylig ar ganfas Frills, stripes, swirls, (30 x 45cm), acrylic on canvas

Cylch, sgwâr, triongl, (31 x 40cm), £800 acrylig ar ganfas Circle, square, triangle, (31 x 40cm) acrylic on canvas

Mam, ymennydd, llwydfelyn, £750 (30 x 40cm), acrylig ar fwrdd Mom, brain, beige, (30 x 40cm), acrylic on board

Tu fewn, byrddau, bys, (57 x 57cm), £800 acrylig ar fwrdd canfas Interior, boards, finger, (57 x 57cm), acrylic on canvas board

Billy Bagilhole Jo Berry Di-deitl,(45.5 x 35cm), acrylig ar ganfas £1,200 Zena Blackwell Adra / Home Di-deitl (2011) / Untitled (2011) Untitled, (45.5 x 35cm), acrylic on canvas Ffrils, streips a chwyrliadau / Frills, stripes, swirls 26 27 Arddangoswyr Exhibitors

Cath Fairgrieve ac Andy Griffiths Llangain

Adeiladwaith â diben anhysbys 1, £980 (14 x 14 x 90cm), haearn ac enamel Structure of unknown purpose 1, (14 x 14 x 90cm), iron and enamel

Adeiladwaith â diben anhysbys 2, £1,120 (14 x 24 x 10.4cm), haearn ac enamel Ray Church Structure of unknown purpose 2, Arfau mawr / Big weapons (14 x 24 x 10.4cm), iron and enamel

Nerea Martinez de Lecea Adeiladwaith â diben anhysbys 3, £1,020 Treorci (12 x 25 x 19cm), haearn ac enamel Structure of unknown purpose 3, Plentyn A, (77 x 58cm), paentiad digidol £900 (12 x 25 x 19cm), iron and enamel Child A, (77 x 58cm), digital painting Adeiladwaith â diben anhysbys 4, £980 Plentyn A, (77 x 58cm), paentiad digidol £900 Steve Buck (14 x 10 x 16cm), haearn ac enamel Child A, (77 x 58cm), digital painting Cylch llawn I / Full circle I Structure of unknown purpose 4, Plentyn A, (77 x 58cm), paentiad digidol £900 (14 x 10 x 16cm), iron and enamel Steve Buck Child A, (77 x 58cm), digital painting Llundain Abayant 1, (17 x 14 x 9.5cm), £1,000 Plentyn A, (77 x 58cm), paentiad digidol £900 haearn a dur Cylch llawn I, (28cm u.), cerameg £1,800 Child A, (77 x 58cm), digital painting Abayant 1, (17 x 14 x 9.5cm), Full circle I, (28cm h.), ceramic iron and steel Plentyn A, (77 x 58cm), paentiad digidol £900 Cylch llawn II, (40cm ll.), cerameg £2,000 Child A, (77 x 58cm), digital painting Abayant 2, (18 x 24.5 x 12cm), £1,000 Full circle II, (40cm w.), ceramic haearn a dur Mwyaf sgolpiog, (35cm u.), cerameg £1,950 Abayant 2, (18 x 24.5 x 12cm), iron and steel Most scalloped, (35cm h.), ceramic Enfilade, (39 x 14.5 x 27cm), dur £1,460 Arwyddion cryf, (21.5cm u.), cerameg £2,100 Enfilade, (39 x 14.5 x 27cm), iron Strong signals, (21.5cm h.), ceramic

Ray Church Abertawe

Arfau mawr, (36cm), cerameg £450 Big weapons, (36cm), ceramic Nerea Martinez de Lecea Arfau mawr, (36cm), cerameg £450 Plentyn A / Child A Big weapons, (36cm), ceramic Mark Houghton Arfau mawr (dynfarch), (36cm), cerameg £450 Y Gelli Gandryll Big weapons (centaur), (36cm), ceramic Gwynddall I, (22 x 122 x 3cm), £1,500 Stymphalian, (67cm u.), cerameg £1,200 pren haenog, tarpolin, paent a dur Stymphalian, (67cm h.), ceramic White out I, (122 x 122 x 3cm), plywood, Arfau mawr, (79cm u.), cerameg £1,700 tarpaulin, paint and steel Big weapons, (79cm h.) ceramic Gwynddall II, (122 x 122 x 3cm), £1,500 Gweithio gartref, (76cm u.), cerameg £1,700 pren haenog, tarpolin, paent a dur Working from home, (76cm h.), ceramic Cath Fairgrieve ac Andy Griffiths Mark Houghton White out II, (122 x 122 x 3cm), plywood, Abayant 2 Gwynddall I / White out I tarpaulin, paint and steel 28 29 Arddangoswyr Exhibitors

Jin Eui Kim Caerdydd

OPrychau - Gwrthdroad VI £4,750 OPjects - Inversion VI

OPrych - Gwrthdroad VI 1, (17.3 x 45.6cm), cerameg OPject – Inversion VI 1, (17.3 x 45.6cm), ceramic

Gethin Wyn Jones OPrych - Gwrthdroad VI 2, Angerdd / Passion (15.6 × 45.3cm), cerameg OPject – Inversion VI 2, Gethin Wyn Jones (15.6 × 45.3cm), ceramic Stockholm OPrych - Gwrthdroad VI 3, Angerdd, (2:20 munud), fideo (14.6 x 45.9cm), cerameg Passion, (2:20 minutes), video OPject – Inversion VI 3, Laura Lillie Marlboro coch, (2:30 munud), fideo (14.6 x 45.9cm), ceramic Rhagair / Preface Red Marlboro, (2:30 minutes), video OPrych - Gwrthdroad VI 4, Laura Lillie Vespa glas, (113 x 68cm), Pris i’w drafod/ (15.6 x 45.9cm), cerameg Caerdydd OPject – Inversion VI 4, paent car ar ddur Price on application Rhagair, (8.5 x 132 x 12.3cm), (15.6 x 45.9cm), ceramic Blue Vespa, (113 x 68cm), pren, lliain llyfrau, plastr, resin, latecs, cwyr car paint on steel OPrych - Gwrthdroad VI 5, Preface, (8.5 x 132 x 12.3cm), Volvo glas, (113 x 68cm), Pris i’w drafod/ (17 x 45.9cm), cerameg wood, bookcloth, plaster, resin, latex, wax OPject – Inversion VI 5, paent car ar ddur Price on application James Moore (17 x 45.9cm), ceramic Blue Volvo, (113 x 68cm), Caerdydd car paint on steel OPrych - Ffurf isaf, £850 Mr a Mrs Cobain yn TJ’s, DAW/NFS (33.5 x 5.8cm), cerameg Dirgelwch pur, Pris i’w drafod/ Casnewydd, OC 1991, OPject - Lower form, (22 x 22 x 18cm), Price on application (45 x 35cm), olew ar bapur (33.5 x 5.8cm), ceramic efydd a pholyester Mr and Mrs Cobain at TJ’s, Newport, You’re a mystery to me, OPrych - Ffurf isaf, £850 AD 1991, (45 x 35cm), oil on paper (22 x 22 x 18cm), bronze and polyester (33.5 x 5.8cm), cerameg Taith ‘Bad’ Michael Jackson, £750 OPject - Lower form, Caerdydd, OC 1988, (45 x 35cm), (33.5 x 5.8cm), ceramic olew ar bapur, OPrych - Ffurf isaf, £850 Michael Jackson’s ‘Bad’ tour, (33.5 x 5.8cm), cerameg Cardiff, AD 1988, (45 x 35cm), oil on paper OPject - Lower form, Dinas Hue yn 1968 ailgrewyd gan £2,500 (33.5 x 5.8cm), ceramic Kubrick yn Nwyrain Llundain yn 1986, Anna Lewis (110 x 65cm), olew ar ganfas Abertawe City of Hue in 1968 recreated by Kubrick in East London in 1986, (110 x 65cm), Casgliad ‘Mae hi’n dangos ei hun’, £180 - £800 oil on canvas (uchder o 3 i 50cm), plu ‘Elle se montre’ collection, ‘Dream Cargoes’, (100 x 80cm), £2,500 (height from 3 to 50cm), feathers olew ar ganfas Jin Eui Kim Anna Lewis ‘Dream Cargoes’, (100 x 80cm), OPrychau - Gwrthdroad VI / OPjects - Inversion VI ‘Mae hi’n dangos ei hun’ / ‘Elle se montre’ oil on canvas 30 31 Arddangoswyr Exhibitors

Glyn Roberts Pregeth / Pregeth

John Rowley Caerdydd

Mwgwd, (45:00 munud), cyfres o ffotograffau ar sgrîn James Moore Mwgwd, (45:00 minutes), series of Dinas Hue yn 1968 ailgrewyd gan Kubrick yn Nwyrain Llundain yn 1986 / photographs on screen John Rowley City of Hue in 1968 recreated by Kubrick in East London in 1986 Mwgwd

Zoe Preece André Stitt Penarth Caerdydd

Y modd y mae’r ddaear yn Pris i’w drafod/ Model synthetig ar gyfer economi ôl-gyfalafol cofio ein cyrff (Presenoldeb Price on application mewn bydysawd cyfochrog, (600 x 700 x 60cm), Materol), (150 x 90 x 80cm), acrylig, olew, enamel a phensil ar ewyn pren collen Ffrengig chwyddedig a phanelau pren The way the earth remembers our bodies (Material Presence), Synthetic model for a post capitalist economy in (150 x 90 x 80cm), walnut a parallel universe, (600 x 700 x 60cm), acrylic, oil, enamel, pencil on expanded foam and Archif hiraeth (Presenoldeb Pris i’w drafod wood panels Materol), (150 x 90 x 100cm), Price on application porslen Caroline Taylor An archive of longing Caerdydd (Material Presence), Cyfres trugareddau, £185 - £200 (150 x 90 x 100cm), porcelain o (16 x 8cm i 19.5 x 9cm), cerameg Glyn Roberts Caroline Taylor Knick-knack series, Caerdydd Trugaredd / Knick-knack o (16 x 8cm i 19.5 x 9cm), ceramic

Pregeth, (15:45 munud), sain Pregeth, (15:45 minutes), audio Zoe Preece Archif hiraeth (Presenoldeb Materol) / An archive of longing (Material Presence) 32 33 Arddangoswyr Exhibitors

Sean Vicary Chain Home West

Philip Watkins Caerdydd

Tyˆ, (40 x 40cm), olew ar ganfas £600 House, (40 x 40cm), oil on canvas

André Stitt Swyddfeydd, (40 x 40cm), olew ar ganfas £600 Model synthetig ar gyfer economi ôl-gyfalafol mewn bydysawd cyfochrog / Offices, (40 x 40cm), oil on canvas Synthetic model for a post capitalist economy in a parallel universe Treherbert, (70 x 50cm), olew ar ganfas £1,000 Jennifer Taylor Sean Vicary Treherbert, (70 x 50cm), oil on canvas Tyddewi Aberteifi Casper White Gwarchodwr Peiriant y Galon, Chain Home West, (4:57 munud), Caerdydd (detholiad o bytiau 1:15 munud), gwaith gosod o fideo ac animeiddio ddogfennaeth fideo Chain Home West, (4:57 minutes), I’r golau (Mabli), (92.5 x 62.5cm), Pris i’w drafod The Guardian of the Heart Machine, video and animation olew ar ddur distaen, (selection of 1:15 minute loops), video Into a light (Mabli), Price on application documentation installation (92.5 x 62.5cm), oil on stainless steel Mae e jyst yn teimlo’n ych, Pris i’w drafod (61 x 53cm), olew ar ddur It just feels gross, Price on application (61 x 53cm), oil on steel

Astudiaeth ar gyfer ‘I’r golau Pris i’w drafod (Mabli)’, (50 x 40cm), Philip Watkins olew ar ganfas Treherbert Study for ‘Into a light ’, Price on application Adele Vye (Mabli) (50 x 40cm), oil on canvas Abertawe Rwy’ d’angen ti, rwy’n ffycar Pris i’w drafod Ymdrechion uwchlaw ac islaw lefel y môr: am gariad, (50 x 40cm), Ffactor drifft, (7:15 munud), dogfennaeth fideo o olewar ganfas Jennifer Taylor Adele Vye weithredu I need you, I'm a, lovesick Price on application Gwarchodwr Peiriant y Galon / Ymdrechion uwchlaw ac islaw lefel y môr: Ffactor drifft Attempts above and below sea level: Drift factor, fuck (50 x 40cm), oil on canvas The Guardian of the Heart Machine / Attempts above and below sea level: Drift factor (7:15 minutes), video documentation of action 34 35 Arddangoswyr Y Fedal Aur am Bensaernïaeth Exhibitors The Gold Medal for Architecture

Gwobr

Y Fedal Aur am Bensaernïaeth (cefnogir gan Gomisiwn Dylunio Cymru)

Medal Goffa Alwyn Lloyd Plac Teilyngdod

Rhoddir replica golch-arian o’r fedal aur, gyda Nod y wobr hon yw sbarduno ceisiadau a chefnogaeth Comisiwn Dylunio Cymru, er cof chynnig llwyfan i brosiectau llai o safon ac am y diweddar Ddr T Alwyn Lloyd. Nod y wobr ansawdd dylunio uchel. Gwahoddwyd penseiri hon yw tynnu sylw at bwysigrwydd i gyflwyno naill ai prosiectau newydd neu pensaernïaeth yn niwylliant y genedl ac brosiectau adnewyddu a oedd yn diwallu’r anrhydeddu penseiri sy'n cyrraedd y safonau meini prawf canlynol: dylunio uchaf. Rhoddir y wobr i'r pensaer neu a. fe’u codwyd yng Nghymru benseiri sydd yn gyfrifol am adeilad neu gr wˆ p o adeiladau, a gwblhawyd yng Nghymru rhwng b. y cyfrif terfynol ddim uwch na £750,000 2015 a 2018 ac a gymeradwywyd i'r Eisteddfod c. cwblhawyd rhwng 2015 a 2018 fel y rhai o’r teilyngdod uchaf. ch. yn cyfoethogi'r amgylchedd Detholwyr Detholwyr Kay Hyde, Alun Jones Kay Hyde, Alun Jones Dyfarnwyd y wobr ganlynol: KKE Architects Y Fedal Aur am ENILLYDD Bensaernïaeth George + Tomos Machynlleth Cletwr, Tre’r ddôl, Machynlleth ENILLYDD KKE Architects Caerwrangon Uned Mewngleifion Hosbis Dewi Sant, Casnewydd

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Rwy’ d’angen di, rwy’n ffycar am gariad / I need you, I'm a lovesick fuck a J ©

Uned Mewngleifion Hosbis Dewi Sant, Casnewydd 36 37 Y Fedal Aur am Bensaernïaeth Pensaernïaeth yng Nghymru The Gold Medal for Architecture Architecture in Wales

Prize Gwahoddwyd ceisiadau gan benseiri neu Entries were invited from architects or groups of grwpiau penseiri i arddangos adeiladau y mae architects to display buildings whose practical The Gold Medal for Architecture eu dyddiad cwblhau ymarferol yn y cyfnod 2015 date of completion was in the period 2015 to (supported by the Design Commission for Wales) a 2018 yn gynwysedig. 2018 inclusive.

Gwireddwyd mewn partneriaeth â Chomisiwn Realised in partnership with the Design Alwyn Lloyd Memorial Medal Plaque of Merit Dylunio Cymru a Chymdeithas Frenhinol Commission for Wales and the Royal Society The sliver-gilt replica of the gold medal is given, The aim of this award is to encourage entries Penseiri yng Nghymru. of Architects in Wales. with the support of the Design Commission for and offer a platform to smaller projects of high Detholwyr Selectors Wales, in memory of the late Dr T Alwyn Lloyd. standard of design and quality. Architects were Kay Hyde, Alun Jones Kay Hyde, Alun Jones The aim of this award is to draw attention to the invited to submit either new projects or importance of architecture in the nation's culture refurbishment projects that satisfied the and to honour architects achieving the highest following criteria: George + Tomos Machynlleth George + Tomos Machynlleth design standards. The award is given to the a. constructed in Wales Cletwr, Tre’r Ddôl, Machynlleth Cletwr, Tre’r Ddôl, Machynlleth architect or architects responsible for the building or group of buildings, completed b. final account did not exceed £750,000 KKE Architects Caerwrangon KKE Architects Worcester between 20145 and 2018 and recommended c. completed between 2015 and 2018 Uned Mewngleifion Hosbis Dewi Sant, In-Patient Unit, St David’s Hospice, to the Eisteddfod as being of greatest merit. Casnewydd Newport d. enhances the environment Selectors Loyn + Co. Penarth Loyn + Co. Penarth Selectors Vila Mir, Y Fenni Vila Mir, Abergavenny Kay Hyde, Alun Jones Kay Hyde, Alun Jones Powell Dobson Caerdydd Powell Dobson Cardiff The following prize was awarded: Oriel Gelf Glynn Vivian, Abertawe Glynn Vivian Art Gallery, Swansea KKE Architects The Gold Medal WINNER for Architecture George + Tomos Machynlleth Purcell Conwy Purcell Conwy Cletwr, Tre’r ddôl, Machynlleth Yr Ysgwrn, Trawsfynydd Yr Ysgwrn, Trawsfynydd WINNER KKE Architects Worcester In-Patient Unit, St David’s Hospice, Newport Comisiynwyd y ffotograffydd James Morris a’r Photographer James Morris and poet Morgan bardd Morgan Owen i ymweld â’r adeiladau a Owen were commissioned to visit and respond to

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Bensaernïaeth. Architecture Exhibition. s e m a J ©

Cletwr, Tre’r ddôl, Machynlleth 38 39 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement

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Cyflwynwyd y Fedal Aur am Bensaernïaeth yn ffrwyth ein hymdrech i adeiladu paradwys ar i r r

(Gwobr Goffa Alwyn Lloyd) am y tro cyntaf y ddaear ar gyfer pobl,” meddai Alvar Aalto, y o M

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ym 1960 ac ers hynny mae wedi ceisio dathlu pensaer o’r Ffindir. e m

cynnyrch pensaernïol parhaus Cymru. Nod a Vila Mir - Loyn + Co J cyflwyniad mwy diweddar y Plac Teilyngdod © Dechreuodd ein siwrnai yn Vila Mir neu ‘T yˆ yw anrhydeddu prosiectau llai sy’n cyflawni Heddwch’, annedd preifat yn Y Fenni. Yr hyn safonau dylunio yr un mor uchel. a geir yma yw adeilad unllawr gyda ffasâd du Derbyniwyd 15 o gynigion eleni gan roi ystod pŵl mewn lleoliad rhannol wledig gwyrdd ar gyfoethog ac amrywiol o brosiectau a lwyddodd safle sydd â goledd graddol iddo. Wrth fynd i i herio ein canfyddiad o raddfa, cymhlethdod mewn gwelwn fod y cartref yn gynhwysydd ac estheteg bensaernïol; cyfuniad a ysgogodd golau a bywyd sy’n manteisio ar y golygfeydd ddadl a thrafodaeth frwd o’r cychwyn cyntaf. penodol o’r cefn gwlad o’i amgylch. Mae ystafelloedd gwely syml i fyny’r grisiau yn ildio i Lluniwyd rhestr fer o bum prosiect, a oedd yn gegin foethus a chymesur, a gofod bwyta a byw adlewyrchu cynnyrch pensaernïol cyfoethog ar lefel is sy’n agor i’r ardd. Mae’n gartref sy’n y gellid ond ei gyflawni drwy gydweithio agos eich atgoffa’n barhaus o bresenoldeb natur, rhwng y cleient, y tîm dylunio a’r gymuned boed hynny’n gipolwg ar ganopi o goed drwy ehangach. Mae’r gwahanol fathau yn dangos ffenestr llofft olau neu’n gysgod rhag y glaw o sut y gall pensaernïaeth addasu a newid er dan deras â tho ar gyfer bwyta yn yr awyr mwyn bodloni heriau cyfarwydd cyllideb, briff agored. Mae’r t yˆ hwn yn enghraifft wych o a chyd-destun. ansawdd yr aneddiadau preswyl sengl sy’n “Nod terfynol y pensaer... yw creu paradwys. dod i’r amlwg yng Nghymru. Dylai pob t yˆ, pob cynnyrch pensaernïaeth... fod

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Wrth ymweld â Hosbis Dewi Sant ar gyrion s e m

Casnewydd cawsom newid mewn graddfa. a J

Y briff oedd darparu uned 15 gwely ar gyfer © cleifion mewnol a man lle gallai teuluoedd a chleifion rannu un o adegau mwyaf gwerthfawr bywyd ar y ddaear. Mae’r adeilad yn defnyddio nodweddion presennol y safle yn sensitif ac yn creu gardd gaeedig heddychlon yng nghefn yr adeilad y mae’r holl ystafelloedd yn agor arni. O’r man cyrraedd cyntaf, hyd at fynd i mewn i’r adeilad a symud drwy’r gofodau sydd wedi’u cysylltu’n ddi-dor, ceir teimlad isganfyddol o dawelwch a synnwyr amlwg o ofal. Rhoddwyd ystyriaeth o’r newydd i hydeimledd cryf, cytgord y lliwiau ac angen pob claf. Canlyniad hyn yw adlewyrchiad o weledigaeth gref client goleuedig, a gallu pensaer i ymateb i hyn Uned Mewngleifion Hosbis Dewi Sant, Casnewydd / Villa Mir Y Fenni / Abergavenny In-Patient Unit, St David’s Hospice, Newport 40 41 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement

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Cletwr, Tre’r ddôl, Machynlleth

cyfaredd y lleoliad a’i gysylltiad gydag un o ffaith ei fod yn wynebu’r de gan wneud y feirdd enwocaf Cymru, Hedd Wyn, yn brif defnydd gorau posibl o olau dydd naturiol. nodwedd yn y gwaith a ystyriwyd yn ofalus. Mae hwn yn adeilad hyfryd a gellir dadlau mai Mae’n werth crybwyll yn benodol y Beudy Llwyd ei unig anfantais yw ei boblogrwydd ei hun. sydd wedi’i suddo’n rhannol tu ôl i’r adeilad Wrth ddod i ddyfarnu’r Fedal Aur am gwreiddiol, lle na fyddwch, wrth ddynesu ato, Bensaernïaeth a’r Plac Teilyngdod daeth yn o fwriad, yn ymwybodol o’r ychwanegiad Yr Ysgwrn, Trawsfynydd amlwg fod dau brosiect yn rhagori o ran eu newydd sy’n eich disgwyl. Crëwyd egwyddorion hansawdd pensaernïol ac angerdd ac egni mewn modd ystyrlon a hardd. Mae’r adeilad thymherus wedi’u cyflunio o amgylch oriel dylunio oesol sylfaenol, sef cysgod, maint a eu cleientiaid goleuedig. Yn y ddau achos yn ail-sefydlu gwir ystyr ‘gofal’ ac yn gosod atriwm uchder dwbl ganolog. Er nad yw’r golau drwy fanylion cyfoes beiddgar, ac mae mae’r adeiladau yn ymgorffori dealltwriaeth meincnod ar gyfer adeiladau gofal iechyd prosiect hwn yn honni ei fod yn chwalu unrhyw gofod arddangos llyfn yn cyfleu arwyddocâd ehangach o fanteision pensaernïaeth o y dyfodol. ffiniau o ran dyluniad oriel, mae ei lwyddiant hanesyddol y bardd a’r lle. ansawdd uchel a’r effaith y gall ei gael ar i’w weld yn ei ymrwymiad i uno’r adeiladau Oriel Gelf Glynn Vivian - Powell Dobson Cletwr - George + Tomos fywydau’r bobl sy’n eu defnyddio. Maent hefyd digyswllt o wahanol gyfnodau hanesyddol a Sefydlwyd Oriel Gelf Glynn Vivian, Abertawe, ym Gwnaeth ein prosiect olaf unwaith eto herio yn dangos, hyd yn oed yn y lleoedd mwyaf chofleidio’r technolegau arbenigol iawn o ran 1911 gyda chymynrodd wreiddiol Richard Glynn dull pensaernïol cyfarwydd arall. Pan ofynnir annhebygol, ac ar gyfer dibenion na fyddai fel diogelwch, rheolaeth amgylcheddol ac adfer Vivian. Ers hynny mae wedi parhau i fod yn i rywun feddwl am orsaf gwasanaethau min y arfer yn cael eu cysylltu â hwy, y caiff celf. Mae’r canlyniad yn rhoi i ymwelwyr ac ganolbwynt diwylliannol arwyddocaol yn y ffordd y peth olaf y byddwch yn ei ddychmygu pensaernïaeth o ansawdd uchel effaith llawer artistiaid fel ei gilydd fynediad at raglen a ddinas. Nod yr ailgyfluniad a’r ychwanegiad yw adeilad a ddyluniwyd gan bensaer sy’n mwy arwyddocaol nag y rhoddir clod iddi fel guradwyd yn ofalus o osodiadau o’r radd yw rhoi bywyd newydd i’r hyn sydd yno’n barod darparu’n frwd ar gyfer anghenion ehangach arfer. Dywedodd Le Corbusier unwaith mai flaenaf a phrofiadau uniongyrchol tu ôl i lenni a datrys blynyddoedd o broblemau symud o cymuned. Wrth gyrraedd cyfleusterau newydd diben pensaernïaeth yw eich cyffroi. Mae’n y gwaith adfer celf. gwmpas a hygyrchedd astrus a etifeddwyd. Cletwr dyna’n union a gewch. Gwerddon bleser gennym felly gyhoeddi y dyfernir Plac Mae cyflwyniad y ffasâd newydd gydag onglau Yr Ysgwrn - Purcell fechan, wedi’i manylu’n ofalus gyda phalet Teilyngdod 2018 i Cletwr, a’r Fedal Aur am llym yn gweithredu fel man gweledol o fewn Wrth i ni deithio ymhellach i Drawsfynydd cawn cynnil o ddeunyddiau sy’n llewyrchu egni Bensaernïaeth i Hosbis Dewi Sant. strydlun traddodiadol, gan atgyfnerthu ein hatgoffa unwaith eto am rôl pensaernïaeth i cadarnhaol o’i mewn. Mae’r adeilad newydd, presenoldeb yr oriel. Unwaith eich bod i mewn ddatgloi profiad yr ymwelydd o adeiladau a godwyd yn lle cyfleuster oedd wedi dyddio, yn yr adeilad, ceir gofodau golau, awyrog a hanesyddol bwysig. Yn Yr Ysgwrn cadwyd wedi’i ail-leoli ar y safle er mwyn manteisio ar y Kay Hyde, Alun Jones 42 43 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement

The Gold Medal for Architecture (Alwyn Lloyd how architecture has the ability to adapt and s i r r

Memorial Medal) was first presented in 1960 and change to suit the familiar challenges of budget, o M

has since aspired to celebrate the continuous brief and context. s e architectural output of Wales. The later m a

“The ultimate goal of the architect...is to create a J

introduction of the Plaque of Merit seeks to © paradise. Every house, every product of honour smaller projects achieving an equally architecture... should be a fruit of our endeavour high standard of design. to build an earthly paradise for people,” said This year a total 15 entries were received which Finnish architect Alvar Aalto. provided a rich and diverse range of projects Vila Mir - Loyn + Co that challenged our perception of scale, Our journey started at Vila Mir or ‘House of complexity and architectural aesthetic; a Peace’ a private residence located in combination that provoked enthusiastic Abergavenny. Sitting on a gently sloping site, debate and discussion from the outset. you are presented with a single storey muted A shortlist of five projects was selected, reflecting black facade within a verdant semi-rural a rich architectural output that could only be setting. On entering, the home reveals itself as achieved through close collaboration between a container of light and life that orchestrates the client, design team and the wider specific views of the surrounding countryside. community. The various typologies showcase Modest bedrooms upstairs give way to a

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St David’s Hospice In-Patient Unit - KKE Architects A visit to St David’s hospice in the suburbs of Newport brought a change in scale. The brief was to provide a 15 bed in-patient unit and a place for families and patients to share one the most precious times of human life. The building sensitively uses existing site features and makes a tranquil enclosed garden to the rear of the building which all of the rooms open onto. From the first point of arrival, to entering the building and moving through the seamlessly connected spaces, there is a subliminal sense of calm and a palpable sense of care. Material tactility, Oriel Gelf Glynn Vivian, Abertawe / Vila Mir Y Fenni / Abergavenny colour harmonies and every patient need have Glynn Vivian Art Gallery, Swansea 44 45 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement

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Cletwr, Tre’r ddôl, Machynlleth

important buildings. At Yr Ysgwrn the very the site to take advantage of a south facing charm of the location and its connection to orientation that maximises natural daylight. one of Wales most famous poets, Hedd Wyn, This is a delightful building and it could be was retained at the forefront of the carefully argued that its only drawback is the popularity considered works. Worthy of particular mention of its own success. is Beudy Llwyd, where on approach you are Yr Ysgwrn, Trawsfynydd On coming to award the Gold Medal for intentionally unaware of the new addition that Architecture and Plaque of Merit it soon became lies in wait, partially submerged behind the been considered afresh. The result is the within a traditional street scene, reinforcing the clear that two projects stood out in terms of their original building. Fundamental timeless design reflection of a strong vision of an enlightened gallery’s presence. Once inside, light, airy and architectural quality and the passion and drive principles of shelter, mass and light have been client, and the ability of an architect to temperate spaces are configured around a of their enlightened clients. In both instances the created through bold contemporary details, respond to this in a meaningful and beautiful central double height atrium gallery. Whilst this buildings embody a wider understanding of the and a free flowing exhibition space captures way. The building reclaims the true meaning project does not claim to break boundaries in benefit of high quality architecture and the the historical significance of the poet and place. of ‘care' and sets a benchmark for future terms of gallery design, its success lies in its effect it can have on the lives of the people who healthcare buildings. commitment to unify the fragmented buildings Cletwr - George + Tomos use it. They also demonstrate that even in the from different historical periods, and embrace Glynn Vivian Art Gallery - Powell Dobson Our final project once again challenged most unlikely places, and for purposes not the highly specialised technologies of security, The Glynn Vivian Art Gallery, Swansea was another familiar architectural typology. When normally associated with it, high quality environmental control and art restoration. The founded in 1911 by the original bequest of asked to think of a road-side service station the architecture has a far more significant impact result provides visitors and artists alike access to Richard Glynn Vivian. Since then it has last thing you imagine is an architect designed than it is often given credit for. Le Corbusier a carefully curated program of world-class continued to represent a significant cultural building that enthusiastically caters for a once said that the purpose of architecture is installations and first hand experience of node within the city. The new reconfiguration community’s wider needs. Arriving at the new to move you. We are therefore delighted to behind-the-scenes art restoration. and addition aspires to breathe new life to the facilities at Cletwr you experience just that. A announce the 2018 Plaque of Merit has been existing offering and smooth out years of Yr Ysgwrn - Purcell small oasis, carefully detailed from a restrained awarded to Cletwr, and the Gold Medal for inherited convoluted circulation and Travelling further afield to Trawsfynydd we were palette of materials that is radiating positive Architecture to St Davids Hospice. accessibility issues. The introduction of the new reminded once again of the role of architecture energy from within. A replacement to an out sharply angled facade acts as a visual marker to unlock the visitor experience of historically dated facility; the new building is relocated on Kay Hyde, Alun Jones 46 47 Ysgoloriaeth Bensaernïaeth Architecture Scholarship

Sefydlwyd yr ysgoloriaeth hon er mwyn hybu pensaernïaeth a dylunio yng Nghymru ac fe’i dyfernir i'r ymgeisydd mwyaf addawol er mwyn ei alluogi i ledaenu ei ymwybyddiaeth o bensaernïaeth greadigol. Mae'r ysgoloriaeth yn agored i'r sawl dan 25 oed. Ysgoloriaeth: £1,500 Cefnogir gan Gomisiwn Dylunio Cymru Detholwyr: Paul Harries, Sara Hedd Ifan Dyfernir yr Ysgoloriaeth Bensaernïaeth i Bethan Scorey Caerdydd

Eleni denodd yr Ysgoloriaeth Bensaernïaeth Mae ei dyluniad a gyflwynwyd ar gyfer tai saith cais gan rai a oedd yn astudio mewn newydd yn Poundbury wedi’i ei seilio ar sefydliadau yng Nghymru a Lloegr. ymchwil cadarn i bensaernïaeth frodorol, Bethan Scorey ynghyd ag ymdriniaeth â ffurfiau confensiynol Dyfernir yr ysgoloriaeth i Bethan Scorey a Harlech tai maestrefol. Canlyniad ei hymchwil yw raddiodd yn ddiweddar o Brifysgol Caerfaddon. ansawdd perthnasol cyfoethog a chyffyrddol, ddynol ynghyd â’r ddynameg sydd rhwng yr Roedd y ddau ddetholwr yn teimlo bod cais tra bod ei hymdriniaeth yn deillio ar gynnig unigolyn a’r gymuned. Atseinir y pwyslais Bethan Scorey yn rhagorol. Cafodd ei chynnig, radical, sy’n gwrthbwyso blerdwf maestrefol. cymdeithasol hwn yn ffurf y cynllun, mae wal a oedd wedi’i seilio ar gynllun tai, ei gyflwyno’n Mae’r cynnig yn dangos meddwl trylwyr o’r galchfaen yn gwau ei ffordd drwy’r cynllun tai, hyfryd gyda lluniadau â llaw a phrintiau hardd dadansoddiad cyd-destunol ymlaen at gan fynegi cysylltiadau cymunedol, tra bod yr Bethan Scorey yn ategu lluniadau pensaernïol mwy ddyluniad manwl. Mae’r cynllun tai yn dangos uwch-strwythurau pren mwy preifat uwch ei Penfro phen - parth preifat unigolion. Mae’r mynegiant confensiynol. Yr hyn a wnaeth fwyaf o argraff ar sensitifrwydd a dychymyg mawr ar gamau Cafodd y detholwyr hefyd eu cyfareddu gan ffurfiol hwn hefyd wedi’i wreiddio yn ei y detholwyr oedd eglurder cryf y syniadaeth a cysyniadol a diagramaidd y datblygiad - mae gynnig Laura Haycock a’i gwaith gyda chwmni dadansoddiad o aneddiadau traddodiadol, soffistigeiddrwydd deallusol ei gwaith. Mae’n iddo hefyd hygrededd cryf. y mae wedi’i gyd-sefydlu â phedwar o lle caiff tai eu clymu gyda’i gilydd tra bod anarferol i rywun mor ifanc fod wedi datblygu raddedigion eraill o’r enw ‘Civic Soup’. Roedd Mae’n amlwg bod gan Bethan Scorey ardaloedd preifat wedi’u gosod ar wahân. athroniaeth mor glir. ei gwaith yn ymwneud â phrosesau dylunio ddiddordeb mewn pensaernïaeth ar raddfa Mae’r ystyriaethau dylunio seiliedig ar ymchwil cyfranogol yn y gymuned a dangosodd lefel yn treiddio i lawr i’r berthynas rhwng y t yˆ a’i uchel o ymgysylltu â materion cymdeithasol. breswylydd. Mae ei dawn ddadansoddol wedi’i Roedd yn gorff cryf o waith mewn ymarfer - chyfateb yn ffodus gan ei gallu i ddylunio a yn ystwytho cyd-destunau trefol i ddarparu darlunio. Ar y cyfan mae hwn yn ddarn o waith cyfleusterau cymunedol. Roedd hwn yn cydlynol a chynhwysfawr wedi’i gyflwyno’n wahanol iawn i’r ceisiadau eraill, gan fod yr hardd, ac yn dangos dawn doreithiog. holl gynigion eraill yn canolbwyntio ar waith Mae ei chynnig ar gyfer MA seiliedig ar personol a phrosiectau Prifysgol yn hytrach na ymchwil, sy’n dwyn y teitl ‘Y Castell Cyfoes yng phrosiectau bywyd go iawn. Bydd y dull hwn a Nghymru’, yn cynnig y posibilrwydd o ymestyn a ysgogir gan broses ar gyfer pensaernïaeth yn datblygu rhai o’r syniadau yr ymdriniwyd â hwy ennill mwy o ddylanwad yn y blynyddoedd i yn barod yn y gwaith y cyfeirir ato uchod. Yn y ddod, gan gyferbynnu ffurfiau ymarfer bôn, mae’n archwilio swyddogaeth cestyll yn pensaernïol confensiynol sy’n canolbwyntio niwylliant Cymru a chynnig dehongliad cyfoes o mwy ar y penodol na’r cyffredinol. Roedd y gestyll canoloesol Edward I. Wedi’u codi er detholwyr yn edmygu lefel yr ymgysylltu â’r mwyn meddiannu tir gorchfygedig Cymru, dadl gymuned ac wrth eu bodd i weld cyflawniadau Bethan Scorey yw, ‘gyda newid mewn ‘Civic Soup’. canfyddiad, gall muriau a oedd unwaith yn Mae’r detholwyr yn gobeithio y bydd yr rhannu cymunedau ddod yn furiau sy’n dwyn Ysgoloriaeth Bensaernïol yn cynorthwyo’r tirwedd a phobl ynghyd’. Mae hwn yn swnio fel enillydd gyda’i hastudiaethau parhaus a’r syniad ymchwil hynod ddiddorol, sy’n prosiect ymchwil cymhellol. berthnasol iawn i Gymru ac yn ddatblygiad Bethan Scorey pellach o’i diddordebau ymchwil. Paul Harries, Sara Hedd Ifan Prosiect Prifysgol 48 49 Ysgoloriaeth Bensaernïaeth Architecture Scholarship

This scholarship has been established to promote architecture and design in Wales. The scholarship is awarded to the most promising candidate to enable him or her to further his or her understanding of creative architecture. The scholarship is open to those under 25 years. Scholarship: £1,500 Supported by the Design Commission for Wales Selectors: Paul Harries, Sara Hedd Ifan The Architecture Scholarship is awarded to Bethan Scorey Cardiff

This year the Architecture Scholarship attracted seven entries from those studying at both Welsh and English institutions.

The scholarship is awarded to Bethan Scorey who recently completed her degree at the University of Bath.

The selectors both regarded Bethan Scorey’s submission as quite outstanding. Her submission which focused on a housing scheme was beautifully presented with lovely hand drawings and prints supplementing more conventional architectural drawings. What impressed the selectors the most was the great clarity of thought and intellectual sophistication of her work. It is unusual for someone so young to have Bethan Scorey Bethan Scorey developed such a clear philosophical position. Caernarfon Sprawl individuals. This formal articulation is also Her design proposal for new housing at delineate. Overall this is a very coherent and graduates called ‘Civic Soup’. Her work involved rooted in her analysis of traditional settlements, Poundbury is built on a bedrock of research into comprehensive piece of work beautifully community based participatory processes in where housing is bound together whilst private vernacular architecture, along with a critique of presented, displaying a copious talent. design and showed a high level of engagement areas are set apart. The research based design conventional forms of suburban housing. Her with social issues. It represented a strong body considerations percolate down to the Her proposal for a research based MA entitled research results in a rich, tactile materiality, of work in practice - intervening in urban relationship between the house and it’s ‘The Contemporary Castle in Wales’ offers a whilst her critique results in a radical proposal, contexts to provide community facilities. This occupant. Her analytical ability is fortuitously possibility of extending and developing some of a counter to suburban sprawl. The proposal was quite different to the other applications, as matched by her capacity to design and the ideas already pursued in the work referred demonstrates a thoroughness of thought from all other submissions focused on personal work to above. In essence, to examine the role of contextual analysis through to detail design. and University projects rather than real life castles in Welsh culture and offer a The housing scheme shows great sensitivity projects. This process driven approach to contemporary interpretation of Edward I’s and imagination at both conceptual and architecture will gain more influence in the medieval castles. Built to occupy the conquered schematic stages of development – it also coming years, opposing more ‘top down’ forms territory of Wales Bethan Scorey argues that, has great plausibility. of conventional architectural practice. The ‘with a shift in perception, walls that once selectors admired the level of community Clearly Bethan Scorey is interested in divided communities can become walls that engagement and were delighted to see the architecture at a human scale along with the gather landscape and people together’. This achievements of ‘Civic Soup’. dynamic between the individual and the sounds like a fascinating line of research, very community. This social emphasis is echoed in pertinent to Wales and a further development of The selectors hope that the Architecture the form of the scheme, a limestone wall threads her research interests. Scholarship will assist the winner in her ongoing it’s way through the housing scheme, expressing studies and compelling research project. communal links, while more private timber The selectors were also fascinated by the superstructures sit on top - the private domain of Bethan Scorey submission of Laura Haycock and her work Conwy with a company she co-founded with four other Paul Harries, Sara Hedd Ifan 50 51 Ddoe + Heddiw: 80 Mlynedd o Gasglu Celfyddyd Gyfoes Cymru

Cynhelir arddangosfa arbennig gan Gymdeithas Gelfyddyd Gyfoes Cymru yn adeilad y Pierhead i gyd-daro ag Eisteddfod Genedlaethol Caerdydd 2018. Dyma gyflwyniad gan y curadur Peter Wakelin.

Dros y pedair ugain mlynedd diwethaf, mae Cymdeithas Celfyddyd Gyfoes Cymru wedi helpu i sicrhau bod cynhysgaeth artistiaid Cymreig yn cael ei gwarchod, ei rhannu a’i deall. Pan ddechreuodd ei gwaith, doedd yna fawr o bobl unman yng Nghymru a gâi’r cyfle i weld celfyddyd oedd newydd ei chreu na chelfyddyd oedd wedi’i gwneud yn eu gwlad eu hunain, ond erbyn heddiw mae’r sefyllfa wedi’i gweddnewid. Ers iddi sicrhau ei chaffaeliad cyntaf ym 1938, mae’r Gymdeithas wedi rhoi neu fenthyca bron i 900 o weithiau – y rhan fwyaf o bell ffordd gan artistiaid Cymreig cyfoes – i amgueddfeydd, orielau a sefydliadau cyhoeddus ym mhob rhan o’r wlad. Mae llawer ohonynt ar ddangos yn gyson: gwrthrychau hoff a chyfarwydd sy’n rhan o fywyd y genedl. Josef Herman (1911—2000) Mam a Phlentyn, 1945-50, Shani Rhys James (1953—) Cysgodion, 1996, olew ar olew ar gynfas, 103x87cm, Dinas a Sir Abertawe, Oriel gynfas, 31x26cm, Llyfrgell Genedlaethol Cymru, Aberystwyth © Yr artist / DACSof Josef Herman / Mae casgliad dosbarthedig y Gymdeithas Gelf Glynn Vivian © Ystâd Josef Herman / Mother and Child, 1945-50, oil on canvas, 103x87cm, City and Shadows, 1996, oil on canvas, 31x26cm, The National Celfyddyd Gyfoes wedi dod yn gofnod sylfaenol County of Swansea, Glynn Vivian Art Gallery © Estate Library of Wales, Aberystwyth © The artist / DACS Gwen John (1876—1939) Proffil Merch, tua1918, olew a of Josef Herman o’r gelfyddyd a grëir yng Nghymru. Fe ddichon sialc ar gynfas, 46x32cm, Amgueddfa Cymru / iddo gael ei ystyried yn heriol ac yn arloesol ar Girl in Profile, c.1918, oil and chalk on canvas, 46x32cm, National Museum Wales adegau, yn ddiogel neu’n hen-ffasiwn ar adegau eraill; mae’n cynnwys gweithiau mawr a rhai llai. Y gamp fawr yw ei fod yn adlewyrchu symud yn barhaus. Dylai casgliad cenedlaethol amrywiaeth - mae’n cyflwyno hanes yr hyn sy’n geisio sicrhau bod artistiaid sydd wedi’u digwydd mewn gwirionedd yng nghelfyddyd hanwybyddu i raddau helaeth yn eu hoes eu Cymru ers wyth deg o flynyddoedd. hunain yn gallu cael eu hailystyried ochr yn ochr ag enwau o fri. Mae’r arddangosfa hon yn defnyddio cyfran fechan yn unig o’r casgliad hwn i ddangos Os mai amcan dathlu’r pedair ugain sut mae celfyddyd gyfoes o Gymru a’r mlwyddiant yma oedd cyflwyno estheteg gwerthfawrogiad ohoni wedi newid o ‘ddoe’ unffurf, gallasai’r dethol wedi bod ychydig y 1930au i ‘heddiw’ yr unfed ganrif ar hugain. yn fwy cydgordiol, ond gwahanol yw’i bwrpas, Mae rhai o’r gweithiau a gyflwynir yma’n sef dangos amrywiaeth eang o’r gelfyddyd a annwyl i bawb, gall rhai eraill ysgogi ymateb ychwanegwyd at y trysordy cenedlaethol. Gall mwy anesmwyth. Caffaelwyd llawer o’r rhai detholiadau yn y dyfodol fynd ati mewn cant o mwyaf adnabyddus yn eu plith gan brynwyr wahanol ffyrdd. Dyna lawenydd casgliad sydd Brenda Chamberlain (1912—1971) Plant ar Lan y Môr, craff am gyfran bitw o beth y byddent wedi’i mor doreithiog o ran testunau, ystyron, 1950, olew ar gynfas, 89x101cm, Amgueddfa ac Oriel gostio ychydig flynyddoedd yn ddiweddarach. cyfryngau, idiomau a chysylltiadau. Fel Gelf Castell Cyfarthfa © Ystâd Brenda Chamberlain / Children on the Sea Shore, 1950, oil on canvas, Sue Williams (1956—) Cydweithrediad, 2003, cyfryngau Ymhlith yr artistiaid a gynrychiolir yma mae rhai celfyddyd fawr ei hun, gall casgliad o’r fath fod 89x101cm, Cyfarthfa Castle Museum and Art Gallery © cymysg ar gynfas, 183x183cm, Prifysgol De Cymru © Yr y mae’n hen bryd eu hailwerthuso; wedi’r cwbl, yn holl gwmpasog, yn newid wrth i ni newid, yn Estate of Brenda Chamberlain artist / Collaboration, 2003, mixed media on canvas, 183x183cm, University of South Wales © The artist mae chwaeth gyhoeddus, ffasiynau curadurol caniatáu ail-ddehongli o hyd, gan ddiwallu a’r hyn sy’n mynd â bryd artistiaid i gyd ar anghenion y presennol a’r dyfodol. 52 53 Then + Now: 80 Years of Collecting Contemporary Art for Wales

A special exhibition held by the Contemporary Art Society for Wales in the Pierhead building to coincide with the Cardiff 2018 National Eisteddfod of Wales. Introduction by the curator Peter Wakelin:

For the past eighty years, the Contemporary Art Society for Wales has helped to ensure that the legacy of Welsh artists is preserved, shared and understood. When it began its work, few people anywhere in Wales had the chance to see newly created art or art made in their own nation, but today the situation has been transformed. Since it made its first acquisition in 1938, the Society has given or loaned nearly 900 works – the great Cedric Morris (1889—1982) Dowlais o’r Tomenni Lludw, majority by contemporary Welsh artists – to Caeharris, 1935, olew ar gynfas, 59x72cm, Amgueddfa ac Oriel Gelf Castell Cyfarthfa © Ystâd Cedric Morris / museums, galleries and public institutions in all Bridgeman Images / Dowlais from the Cinder Tips, parts of the country. Many of them are on Caeharris, 1935, oil on canvas, 59x72cm, Cyfarthfa regular display: familiar, favourite objects that Castle Museum and Art Gallery © Estate of Cedric Morris / Bridgeman Images are part of national life.

The Contemporary Art Society’s distributed collection has become a fundamental record of the art created in Wales. It may have been Claire Curneen (1968—) Sant Sebastian, darn ceramig, considered challenging and cutting-edge at 2009, 55x17x10cm, Dinas a Sir Abertawe, Oriel Gelf times, safe or outmoded at others; it includes Erica Daborn ( 1951—) Ystafell Aros 1, 1979, tempera wy Glynn Vivian © Yr artist / St Sebastian, 2009, ceramic, 55x17x10cm, City and County of Swansea, Glynn Vivian great works and slighter ones. The great ar fwrdd, 127x89cm, Dinas a Sir Abertawe, Oriel Gelf Glynn Vivian © Yr artist / Waiting Room 1, 1979, egg Art Gallery © The artist achievement is that it stands as a reflection tempera on board, 127x89cm, City and County of of diversity – it presents the story of what has Swansea, Glynn Vivian Art Gallery © The artist actually been happening in Welsh art for eighty years. If the objective of this eightieth anniversary celebration had been to present a uniform This exhibition use just a fraction of this aesthetic, the selection might have been more collection to show how contemporary art from harmonious, but its purpose is different: to show Wales and its appreciation have changed from a wide array of the art added to the national the ‘then’ of the 1930s to the ‘now’ of the twenty- treasure house. Future selections may take a first century. Some of the works presented here hundred different approaches. That is the joy of are loved, others may provoke more unsettling a collection so abundant in subjects, meanings, reactions. Many of the best-known of them were media, idioms and associations. Like great art acquired by perspicacious purchasers for a tiny itself, such a collection has the capacity to be fraction of what they would have cost a few universal, changing as we change, perpetually years later. Among the artists represented here permitting reinterpretation, fulfilling the needs are some ripe for re-evaluation; after all, public of both the present and the future. Merlyn Evans (1910—1973) Yr Harbwr, 1947, olew ar Ernest Zobole (1927—1999) Cwm Rhif 5, tua 1965, olew tastes, curatorial fashions and the gynfas, 63x76cm, Amgueddfa ac Oriel Gelf ar galedfwrdd, 151x122cm, Amgueddfa ac Oriel Gelf preoccupations of artists all shift continuously. Casnewydd © Ystâd Merlyn Evans / The Harbour, 1947, Casnewydd © Ystâd Ernest Zobole / Valley No. 5, c.1965, oil on canvas, 63x76cm, Newport Museum and Art oil on hardboard, 151x122cm, Newport Museum and A national collection should seek to ensure that Gallery © Estate of Merlyn Evans Art Gallery © Ernest Zobole Estate artists largely overlooked in their own day can be reconsidered alongside famous names. 54 55 Y Senedd a Chelf

Mae’r Senedd, cartref eiconig Cynulliad cyfansoddiad cromen wydr ddau fetr o led Cenedlaethol Cymru yng nghanol Bae i’w weld ar lawr derw’r Siambr. Caerdydd yn lle i ymgasglu, i ysbrydoli ac Crëwyd y gwaith gan Alexander Beleschenko i greu newid - yn fan lle gall pobl Cymru ddod o Abertawe, artist sy’n enwog drwy’r byd, i ynghyd. Mae’n ganolbwynt i ddiwylliant Cymru ddangos ‘y Cynulliad wrth galon Cymru’. Mae’r yn ogystal â bod yn fan ar gyfer trafod a gwaith yn dangos sgwrs rhwng y Cynulliad gwneud penderfyniadau. Cenedlaethol a phobl Cymru, gan ddangos Mae’n cynrychioli democratiaeth deg ac syniadau sy’n dod i’r Siambr gan bobl Cymru, agored, ac mae tryloywder trawiadol yr adeilad a syniadau sy’n gadael y Siambr i lunio Cymru. yn croesawu pawb i weld y Cynulliad ar waith. Ffurfiwyd y gwaith drwy baentio patrwm Celf mewn pensaernïaeth haniaethol ar ddarnau o wydr 10mm o drwch, Nod Richard Rogers, pensaer y Senedd, oedd cyn eu chwalu, eu hailffurfio mewn mowld a’u creu adeilad sy’n ymddangos fel be bai’n codi bondio gyda resin. Mae’r cyfan yn eistedd ar o’r Bae ac yn dal sylw’r rheini sy’n cerdded haenen o wydr trwchus mewn ffrâm o ddur heibio, gyda tho crog y gall pobl ymgynnull gloyw. Caiff y gwaith ei oleuo o’r tu mewn oddi tano. Y canlyniad yw adeilad sy’n symbol gyda golau ffeibr-optig. o ddemocratiaeth agored Cymru ac mae’n "Mae’r gwaith ar ffurf delwedd haniaethol sy’n darparu etifeddiaeth barhaol i’n cenedlaethau chwyrlïo ac mae dotiau o wahanol faint yn estyn yn y dyfodol drwy ddatblygu cynaliadwy. o ganol y gwaith. Mae deinameg y dotiau yn strata daearegol a gwaddod y mwynau sydd Y Man Cyfarfod Mae’r Senedd yn cynnwys llawer o awgrymu bod grymoedd gwrthgyferbyniol ar wedi creu cyfoeth diwylliannol a masnachol Y cerflunydd Richard Harris a ddewiswyd i ddeunyddiau naturiol. Yn sefyll ar blinth waith – mae’r hyn sy’n estyn allan hefyd yn troi’n y wlad dros y blynyddoedd." saernïo’r ‘Man Cyfarfod’, sef strwythur unigryw concrid sy’n cynnwys colofnau, trawstiau a ôl tua’r canol. I mi, mae’n adlewyrchu’r ffordd y Martin Richman sy’n ymestyn allan o ochr ddeheuol plinth y slabiau, mae’r Senedd wedi’i adeiladu ar mae’r Cynulliad yn gweithio, drwy wrando a Maes y Cynulliad Senedd. Dewisodd yr artist 39 darn o lechfaen o sylfaen gadarn. gwneud penderfyniadau." chwarel Cwt-y-Bugail, ger Llan Ffestiniog i greu’r Crëwyd ‘Maes y Cynulliad’ gan yr artist gwydr Alexander Beleschenko, 2006 gwaith. Yr un chwarel a ddarparodd y llechi a Mae elfennau gwydr yr adeilad yn caniatáu enwog Danny Lane ac fe’i codwyd o flaen yr ddefnyddiwyd tu mewn i’r Senedd ac o’i golau naturiol i lifo’i mewn, ac yn rhoi golygfa Lliw yn y Senedd adeilad ger y lifftiau allanol. Cynlluniwyd y hamgylch. odidog o Fae Caerdydd a Phenarth yn ystod y Mae gan y Senedd oddeutu 600 o baneli gwaith gyda golwg ar ymarferoldeb gan fod y dydd ac yn creu naws atmosfferig liw nos. acwstig i amsugno s ŵn cefndir mewn gwydr yn cysgodi ymwelwyr rhag y gwyntoedd Dewiswyd pob carreg gan yr artist o blith y ardaloedd o gwmpas yr adeilad. Gweithiodd cryfion wrth iddynt ddringo’r grisiau i’r Senedd. llechfeini crai olaf i gael eu cloddio yng Nghwt- Mae llechi yn nodwedd bwysig arall o’r adeilad, yr artist ar ryw 270 ohonynt i ychwanegu lliw y-Bugail gan ddefnyddio dulliau ffrwydro ac fe’u defnyddir yn helaeth yn y Senedd ac o’i Un o brif nodweddion y maes yw’r newidiadau i’r Senedd. traddodiadol. Ar ôl i Richard Harris eu dewis, gwmpas. Daw’r llechi o Gwt-y-Bugail, ger Llan ymddangosiadol sy’n taro pobl wrth iddynt fe’u cludwyd i chwarel Ffestiniog i’w torri. Ffestiniog, ac maent yn gadarn ac yn gwisgo’n Mae pob panel wedi’i wneud o ffrâm bren grwydro o’i amgylch. Gan mai gwydr trwchus Cymerwyd hyd at ddau ddiwrnod i dorri pob dda, ac roedd eu hirhoedledd yn un o’r prif sy’n dal deunydd amsugno sain gyda defnydd yw’r paneli, mae’r gwaith yn dryloyw ac, o llechfaen i’w ffurf derfynol o fewn y gwaith. resymau dros eu dewis. niwtral arbennig wedi ei ymestyn yn dynn dros edrych arno o’r tu blaen, mae bron â bod yn y cyfan. Martin Richman oedd yr artist a anweladwy. Mae wynebau’r paneli’n "Mae’r llechi yn fawr ac yn grai o’u cymharu Celf yn y Senedd benodwyd gan y Cynulliad i ychwanegu adlewyrchu golau ac yn ddrych o’r hyn sydd â’r llechi a ddefnyddir yn yr adeilad. Fe’i llifiwyd Mae celf wrth wraidd diwylliant Cymru, ac lliw i’r Senedd. o’u cwmpas, ac mae’r ymylon yn creu cyfres a’u dwyn ynghyd i greu strwythur ysgafn ar ffurf mae’n adlewyrchu ein hanes cyfoethog o o linellau emrallt. adain sydd yn crymanu o amgylch cornel yr fynegiant artistig. Ar gyfer adeilad mor Aed ati i ganolbwyntio ar ddefnydd eang y adeilad. Cafodd ochrau allanol y llechi eu arwyddocaol i Gymru â’r Senedd, roedd yn pensaer o baneli acwstig wedi’u gorchuddio â "Mae’r dyluniad yn faes o 32 panel gwydr clir gadael yn eu ffurf grai, ond mae ochrau’r llechi bwysig bod darnau celf pwrpasol yn cael eu ffabrig, a’r modd y gellir defnyddio’r paneli hyn wedi eu trefnu ar grid chweochrog. Gellir ar y tu mewn yn llyfn i greu gofod newydd a comisiynu ar gyfer yr adeilad hwn yn unig. fel cyfrwng celfyddydol. cerdded o amgylch y paneli sydd wedi’u chlòs, lle rwy’n mawr obeithio y bydd pobl am Mae’r celf yn yr adeilad yn helpu i ddathlu’r gosod ar ogwydd o 30 gradd ac mae’r golau’n "Wrth fynd ati i addurno’r paneli acwstig, dreulio amser." bennod newydd yn hanes Cymru y mae’r adlewyrchu oddi ar wyneb y gwydr. O un man cawsom gyfle i gyflwyno lliw i’r adeilad newydd Richard Harris Senedd yn ei chynrychioli. cyfagos mae modd gweld drwy’r maes cyfan. heb effeithio ar y broses adeiladu. Seiliwyd y Mae hwn yn waith syml yn ei hanfod sy’n Mae’r Senedd yn agored drwy gydol y flwyddyn Calon Cymru delweddau ar y syniad bod egni a ffrwynwyd ymateb creadigol i adeilad eithriadol sydd i weld democratiaeth ar waith, neu i fwynhau ‘Calon Cymru’ yw canolbwynt y Siambr, sef y bellach yn cael ei ryddhau yng Nghymru. Caiff o bwys diwylliannol mawr.” un o adeiladau mwyaf eiconig Cymru. siambr drafod yng nghraidd y Senedd. Mae’r cymeriad arbennig Cymru ei adlewyrchu yn y Danny Lane 56 57 The Senedd and Art

The Senedd, the iconic home of the National An important value of the work is the apparent Assembly for Wales in the heart of Cardiff Bay is transformation that occurs as the viewer moves a place to gather, inspire and create change - past or around it. The work is transparent and the focal point around which Wales can gather. permeable, and when viewed from the front It’s a hub for Welsh culture as well as a place for virtually disappears. The surfaces reflect and debate and decision making. mirror the other elements and the surroundings, and the edges create a field of vertical emerald Representing a fair and open democracy, the lines. striking transparency of the building welcomes all to see the Assembly at work. “The design is a field of 32 clear glass plates positioned on a hexagonal grid. As you move Finding art in architecture around the group they appear in rows at every 30 The Senedd’s architect, Richard Rogers, degrees by virtue of the hexagonal configuration. envisioned a building that rises out of the Bay, Surface will reflect surface and from an adjacent engaging passers-by with an over-sailing roof viewpoint you will be able to see through the that creates a place for people to gather and entire group. The design has been reduced and meet. The result is a building which is symbolic reduced to its essence. It is a poetic response to of Wales’ open democracy and provides a Colour in the Senedd an exceptional building of cultural importance.” lasting legacy to our future generations through The Senedd is fitted with around 600 acoustic Danny Lane sustainable development. panels to absorb background noise in areas around the building. Around 270 of these have The Meeting Place on the Plinth Many natural materials make-up the Senedd’s been worked on to add colour to the Senedd. ‘The Meeting Place on the Plinth’, created by features. Standing on a concrete plinth made up sculptor Richard Harris, is a distinctive curving of columns, beams and slabs, the Senedd is built Each panel is made up of a timber frame structure which emanates from the south side of on a solid foundation. containing acoustic absorption material and covered by a stretched acoustically neutral the building’s plinth. The 39 slate stones which The glass elements of the building allow natural fabric. Martin Richman was the artist appointed form the work come from the same quarry, Cwt- light in, allowing a magnificent view of Cardiff by the Assembly to add colour to the Senedd. y-Bugail, near Llan Ffestiniog, that supplied the Bay and Penarth by day and creating an Beleschenko, to show ‘the Assembly at the heart slate used in and around the Senedd. atmospheric feel at night. of Wales’. The work shows a conversation The project focused on the architect’s Each stone was selected by the artist from the between the National Assembly and the people widespread use of fabric-covered acoustic Slate is another important feature of the last batch of raw slabs quarried at Cwt-y-Bugail of Wales, representing ideas coming into the absorption panels throughout the building, building, and is used extensively in and around using traditional blasting methods. The slabs Siambr from the people of Wales, and ideas and how these panels could be used as a the Senedd and it is sourced from Cwt-y-Bugail, were hand marked by the artist, and leaving the Siambr to shape Wales. vehicle for art. near Llan Ffestiniog. Robust and hard-wearing, transported to the Ffestiniog quarry for cutting the slate was chosen with longevity in mind. The work was formed by painting the abstract “The treatment of the sound proofing panels on the quarry’s wire saw. It took up to two days design onto plates of 10mm thick toughened became a means of introducing colour into the Art in the Senedd to cut each slab to form one of the work’s stones. glass, smashing the sheets and letting the new building without compromising the build Art is at the heart of Welsh culture, and reflects “The stones are large and raw compared to those smashed glass rest and form on a mould. Resin process. The imagery evolved from a sense of our rich history of artistic expression. For a used in the building, and they have been sawn was added to the formed work to stabilise it, and suppressed energy emanating from Wales. The building as significant to Wales as the Senedd, and gathered together to create a delicate wing the resulting dome was filled with resin and geological strata and mineral deposits have it was important that bespoke art pieces were like structure that curves around the corner of the glass. The base of the work is a toughened glass given Wales its particular character, providing commissioned exclusively for the building. building. Although the stones have been left in sheet, and it rests on a steel frame. a wealth of culture and commerce.” The art within the building helps to celebrate Martin Richman their natural un-worked form on the outer edges, the new chapter in Wales’ history that the “The imagery that embellishes the form is the inner curve is smooth - creating a new and Senedd represents. abstract and of a swirling pattern. It has a The Assembly Field intimate space, where I hope people will want to central focal point from which radiate arcs The ‘Assembly Field’, created by renowned The ‘Heart of Wales’ spend time.” of different sized dots. The dynamic of these glass artist Danny Lane, is located on the front Richard Harris The ‘Heart of Wales’ is the centrepiece of the marks express a duality of forces - that which corner of the building adjoining the external Siambr, the debating chamber at the Senedd’s The Senedd is open year-round to see radiates out also conversely converge back to lifts. It has been designed and developed as a core. The two-metre wide glass composition sits democracy in action or to simply enjoy one the centre. This is how I see the workings of the functional object to slow down high winds and slightly proud on the Siambr’s oak flooring. of Wales’ most iconic buildings. Assembly in that there is confluence of listening protect pedestrians walking up to the front steps The installation was created by internationally- and decision making.” of the building. renowned Swansea-based artist Alexander Alexander Beleschenko 58 59

Dymuna Is-bwyllgor Celfyddydau Gweledol Caerdydd 2018 ddiolch: Panel Sefydlog Celfyddydau Gweledol / Detholwyr Celfyddydau Gweledol / The Cardiff 2018 Visual Arts Sub-committee wish to thank: Visual Arts Standing Panel Visual Arts Selectors Cadeirydd / Chair Cynulliad Cenedlaethol Cymru / Derbyniwyd y cyfraniadau canlynol: Kareen MacKinnon Mererid Velios National Assembly for Wales The following contributions were received: Ingrid Murphy £100 Garnon ab Ion Thomas, Mudiad Amddiffyn Marc Rees Art Works Luned Aaron Celfyddydau Canton Gwenno Angharad Detholwyr Pensaernïaeth / £80 Gwobr Cyngor Tref Caerffili / Elen Bonner Crefft yn y Bae, Caerdydd / Architecture Selectors Caerffili Town Council Award Rhys Llwyd Davies Craft in the Bay, Cardiff Aled Wyn Davies Kay Hyde £40 Gwobr Goffa Eluned Williams / Oriel Canfas, Caerdydd / Cardiff Peter Dutton Alun Jones Eluned Williams Memorial Award Lisa Gwilym £40 Gwobr Goffa Olwen Hughes, Rhymni / Detholwyr Ysgoloriaeth Bensaernïaeth / Chapter Caerdydd / Cardiff Rhian Hâf Olwen Hughes, Rhymney, Memorial Award Architecture Scholarship Selectors Ann Fiona Jones Comisiwn Dylunio Cymru / £10 Gwobr Thomas Daniel Varney, Trefdraeth / Paul Harries Sian Owen Design Commission for Wales Thomas Daniel Varney, Newport, Award Wil Rowlands Sara Hedd Ifan Pete Telfer Cymdeithas Frenhinol Penseiri yng Nghymru / Dylunydd yr Arddangosfa / Diana Williams Royal Society of Architects in Wales Exhibition Designer Jamie Yeoman Sean Harris Llenyddiaeth Cymru / Literature Wales Swyddog Celfyddydau Gweledol / Cynorthwy-ydd / Assistant Visual Arts Officer Robyn Tomos Sera Wyn Walker

Is-bwyllgor Celfyddydau Gweledol / Bardd / Bard Visual Arts Sub-committee Ll yˆr Gwyn Lewis Cadeirydd / Chair Thomas Williams Bardd Pensaernïaeth / Architecture Bard Is-gadeirydd / Vice-chair Morgan Owen Sera Wyn Walker Dylunio’r catalog / Catalogue design Ysgrifennydd / Secretary Michael Goode Peter Marks - Peter Marks Wales Simon Burgess Ruth Davies Anne Gibbs Alun Hemming Anthony Jones Ceri Jones Cindy Lambert Catrin Llwyd Margo Schmidt

Cefnogwyd gan grant oddi wrth Gyngor Celfyddydau Cymru Supported by a grant from Arts Council of Wales mewn partneriaeth â Chyngor Celfyddydau Cymru in partnership with Arts Council of Wales