Eisteddfod Genedlaethol Cymru Sir Fynwy a’r Cyffiniau 2016 Y Lle Celf 3 Cynnwys Contents

O Barlwr y Maer ● From the Mayor’s Parlour 4 Patrick Hannay

Y Lle Celf 2016 8 Louise Wright

Sylwadau’r Detholwyr ● Selectors’ Statements 10 Helen Sear ● Rachel Conroy ● Anthony Shapland

Y Fedal Aur am Gelfyddyd Gain ● The Gold Medal for Fine Art 22

Y Fedal Aur am Grefft a Dylunio ● The Gold Medal for Craft and Design 24

Noddwyr Balch Medal Aur am Bensaernïaeth Ysgoloriaeth Artist Ifanc ● Young Artist Scholarship 26 Eisteddfod Genedlaethol Cymru Gwobrau Eraill ● Other Awards 27 Arddangoswyr ● Exhibitors 28 Cymru...wedi’i dylunio’n well Pensaernïaeth ● Architecture 37

Datganiad y Detholwyr Pensaernïaeth ● Architecture Selectors’ Statement 46 Alan Francis ● Jonathan Vining

Ysgoloriaeth Bensaernïaeth ● Architecture Scholarship 54 Trevor Skempton ● Jacqui Walmsley

‘Drwy fesur y pellter, down adref’ ● ‘By measuring the distance, we come home’ 58

Cysylltwch â’r Comisiwn dcfw.org

Delwedd / Image: Gwerthu tâp Sherlock Holmes i’r beirniad celf Brian Sewell yn Waterstones, Y Fenni / Selling a Sherlock Holmes tape to the art critic Brian Sewell in Waterstones, Abergavenny (2007): Neil McNally 4 5 O Barlwr y Maer

Ym Mharlwr y Maer, lle buom yn cwrdd bob mis sentimental nac yn annidwyll. Bu sôn am hetiau gyn lleied o sylw gan ein cymuned? Yn dilyn er mwyn cynllunio ein cyfraniad lleol i’r Lle Celf anferth ar batrwm hetiau Llanofer yn hedfan yr arddangosfa drawiadol Rhamantiaeth a eleni, roedd print trawiadol o rifyn 25 Hydref uwchben mynydd y Blorens, neu hyd yn oed Thirwedd Cymru a guradwyd gan Peter Wakelin 1845 yr Illustrated London News yn crogi ar y arddangosiadau mwy egsotig gyda ym Machynlleth, estynnom wahoddiad iddo mur a byddai’n dal ein llygaid yn gyson. Ynddo pharagleidwyr yn glanio ar y Maes i gwrdd â’r guradu arddangosfa gan artistiaid a oedd yn gwelir gorymdaith garlamus yn rhuthro i fyny Orsedd, gyda delweddau o’r Arglwyddes a gyfoedion i Raymond Williams a oedd wedi cael Stryd y Groes, Y Fenni, ac yn llifo heibio Gwesty’r Charnhuanawc yn addurno’r adenydd. Fodd eu cyffwrdd a’u hysgogi i ymgysylltu, drwy eu Angel. Eisteddfod yr Arglwyddes Llanofer a bynnag, yn y diwedd penderfynwyd mai gwell celf, â’r pynciau croes sy’n dod i’r amlwg yn Charnhuanawc oedd hon, un o’r deg eisteddfod fyddai rhoi cyfle i bobl gael eu hatgoffa am y nofel ffuglennol fwyaf Raymond Williams Border a sefydlwyd ganddi. stori ryfeddol hon drwy arteffactau a thestun yn Country . s i r

arddangosfa wych Yr Arglwyddes Llanofer a’i r A ninnau ar y ffin yma, gall ymddangos yn Cawsom ein cyffroi wrth sylweddoli y gallem o M

Chylch , sydd i’w gweld ar hyn o bryd yn s rhyfedd i rai y dylai’r adfywiad diwylliannol gyrraedd tri nod, drwy anrhydeddu un o arwyr e Amgueddfa’r Fenni, a leolir yn y castell sy’n m a enfawr hwn o bopeth Cymreig, a ysgogwyd eraill diwylliant Cymru, sydd yn aml wedi’i J edrych dros y Maes. Ewch i’w gweld. gan yr Arglwyddes Llanofer a Charnhuanawc anghofio - y pensaer hynod yr Athro Dewi-Prys Hall + Bednarczyk The Chickenshed, Trefynwy / Monmouth (a adwaenir hefyd fel y Parchedig Thomas Roedd angen canfod lle i arwyr diwylliannol Thomas, a ddatblygodd Ysgol Bensaernïaeth Price), godi’n llawn angerdd o ymylon y wlad eraill Sir Fynwy, sy’n aml yn anhysbys i drigolion Cymru. Eleni mae’n ganmlwyddiant ei eni. yn hytrach nag o’i chanol. Fodd bynnag, bu’n lleol, ar y llwyfan naturiol gwych hwn, sydd Cyflwynodd y cwmni penseiri lleol Hall + Roeddem hefyd yn gobeithio y gallai ymateb fwriad gan y ddau ohonynt erioed i’r Eisteddfod wedi’i leoli rhwng mynyddoedd yr Ysgyryd Fawr, Bednarczyk gynnig ar gyfer pafiliwn bychan, ffotograffig ardderchog James Morris i’r bob amser edrych i mewn ac edrych allan, yn y Blorens a Phen-y-fâl. Wedi’r cyfan, roedd hwn coeth y gellid ei ailddefnyddio, wedi’i enwi ar prosiectau a gyrhaeddodd y rhestr fer llynedd, Gymreig ac yn Ewropeaidd - diwylliannau yn un cyfle mewn can mlynedd. Dyma’r cyfle i ôl Dewi-Prys Thomas. Gallai fod wedi cynnal chwarae rhan yn Y Lle Celf yn Y Fenni unwaith wedi’u cysylltu. Sut arall y gallai fod o gofio roi sylw iddynt hwy. O ganlyniad crëwyd ein arddangosfa o enillwyr Y Fedal Aur am eto eleni. A dyna ddigwyddodd. gwasgariad y Celtiaid? Harddangosfa Arbennig - Ffiniau . Bensaernïaeth dros y 25 mlynedd diwethaf. Yn gyflym iawn, sydd efallai’n syndod o gofio Er i’r heriau cyllido chwalu’r syniad hwnnw, O’r dechrau bu ein pwyllgor lleol yn trafod sut i Sut gallai un o awduron diwylliannol mwyaf yr amgylchedd cysglyd Parlwr y Maer, daeth y mae Dewi-Prys Thomas yn dal i fod yn bresennol wneud cyfiawnder â’r cyfraniad rhyfeddol hwn ugeinfed ganrif Raymond Williams, a aeth i’r pwyllgor i gytundeb drwy drafodaeth frwd gyda ni ar y Maes. Cofiwch fynd i Babell y i Gymru, heb fod yn or-deimladwy, yn ysgol leol, gyda’i rieni’n byw yn Y Pandy, gael yngl yˆn â chynnig enwau ar gyfer curadur a Cymdeithasau 1 am 12.00pm ar ddydd Mawrth, dau ddetholwr arall i brif arddangosfa Y Lle 2 Awst ar gyfer dathliad haeddiannol. Celf. Diolchwn i Anthony Shapland, Rachel Buom yn trafod yn ddwys a hir y gwersi sydd i’w Conroy a Helen Sear am eu gwaith caled dysgu o’r Arddangosfa Agored a guradwyd gan rhagorol. Mae’r ffaith bod dros 50% o’r gwaith a Michael Nixon ym Meifod llynedd. Roeddem ddetholwyd yn waith artistiaid sydd erioed wedi eisiau i’r ‘dehongli’ gael ei gynnal a’i gryfhau, i arddangos yn yr Eisteddfod o’r blaen yn arwydd ganiatáu i chi symud y tu hwnt i’ch edmygedd hynod gadarnhaol ar gyfer y dyfodol - pennod emosiynol i unrhyw ddarn. Mae Angharad newydd o ymgysylltu â’r gymuned celf a chrefft Pearce Jones a’r gwneuthurwr ffilmiau Pete yng Nghymru. Telfer wedi gweithio mor galed i wneud hyn. Mae’n amlwg y dylanwadodd egni gorymdaith Roeddem yn ffodus bod Alan Francis, Cadeirydd garlamus 1845 ar ein cyfarfodydd pwyllgor Comisiwn Dylunio Cymru ac un o drigolion bro’r Celfyddydau Gweledol misol prysur, a rhai a Eisteddfod, yn gadael ei swydd ychydig cyn fynychwyd yn ffyddlon gan yr aelodau. Diolch dechrau’r broses ddethol ar gyfer Y Fedal Aur i bawb a ddaeth fis ar ôl mis. am Bensaernïaeth. Caniataodd hyn iddo, Bu’n broses gynhyrfus i gael popeth i’r Maes yn ynghyd â’r pensaer a’r beirniad Jonathan Nolydd y Castell, yn debyg iawn i’r orymdaith Vining, i fynd ar daith i weld yr adeiladau a gyffrous honno heibio Gwesty’r Angel. Ond bu’n gyflwynwyd ar gyfer y fedal, llunio rhestr fer werth yr ymdrech. Gobeithiwn y bydd hi’n eich a gwneud y detholiad terfynol. Yn dilyn cyffroi. blynyddoedd lle bu’r t yˆ preifat yn hawlio’r sylw roeddem yn falch i weld nifer o adeiladau Patrick Hannay Gwenllian Llwyd cyhoeddus gwych yn dod i’r amlwg unwaith eto. Cadeirydd Dirywiad a dadfeiliad (delwedd lonydd / still image) Is-bwyllgor Celfyddydau Gweledol 6 7 From the Mayor’s Parlour

In the Mayor’s Parlour in which we met every month, planning our local contribution to this year’s Lle Celf, we kept noticing high up on the wall, a remarkable print from the October 25th, 1845 issue of the Illustrated London News . A riotous procession is illustrated, surging up Cross Street, Abergavenny, flowing past the Angel Hotel. This was Lady Llanover’s and Carnhuanawc’s Eisteddfod, one of ten she instigated.

Being Border Country here, it might seem strange to some that this massive cultural regeneration of all things Welsh, driven by Lady Richard Bevan Llanover and Carnhuanawc (aka Rev Thomas rf# Price), should spring effusively from its edge, rather than the country’s heart. But for both of schoolboy, born of parents living at Pandy, be them it was always the intention that the so uncelebrated by our community? Following Eisteddfod should always be facing inward the spectacular show, Romanticism in the Welsh and outward – Welsh and European, connected Landscape curated by Peter Wakelin at s cultures. How could it be otherwise given the Machynlleth, we invited him to curate a show i r r o

Celtic diaspora? of Raymond Williams’ artistic contemporaries M

s who found themselves touched and moved to e m

From early days our local committee wrestled a engage through their art with the conflicting J with how to do justice to this magnificent local Hall + Bednarczyk issues brought to the surface in William’s contribution to Wales, without it becoming Canolfan Ymwelwyr a Chwaraeon D wˆ r Llandegfedd, Pont-y-p wˆ l / Llandegfedd Visitor & Watersports Centre, Pontypool greatest fictional novel Border Country . maudling, sentimental and ersatz. There was Jones and the film maker Pete Telfer have selectors for the main show in Y Lle Celf. We talk of giant inflatable hats Llanover-style, We did get very excited that we could score a worked so hard at this. thank Anthony Shapland, Rachel Conroy and floating off the Blorenge, of even more exotic triple, by honouring another often forgotten hero Helen Sear for their excellent hard work. The fact displays of para-gliders descending on the Maes of Welsh culture, the remarkable architect and We were fortunate that the Chair of the Design that over 50% of the work selected are from to meet the Gorsedd, adorning their wings with Professor Dewi-Prys Thomas who built up the Commission for Wales and local resident, Alan artists who have never before exhibited at an images of Llanover and Price. But in the end it Welsh School of Architecture. This year is the Francis, was stepping down just before the Eisteddfod, is an enormously positive sign for the was best that we simply gave people the chance centenary of his birth. Local Monmouthshire selection process for the Gold Medal for future - a whole new chapter of engagement to be reminded of this remarkable story through architecture practice Hall + Bednarczyk came Architecture began. This allowed him along with with the art and crafts community in Wales. artefacts and text in the excellent exhibition forward with a proposal for an elegant small architect and critic Jonathan Vining to tour the Lady Llanover and her Circle , currently held at re-usable pavilion to be given Dewi-Prys’ name, buildings submitted and to make a shortlist and Some of the riotous energy of that 1845 the Abergavenny Museum, housed in the castle which might have housed an exhibition of the final selection. After years dominated by private procession clearly infected our busy and well overlooking the Maes. Go and see it. Gold Medal for Architecture winners of the last house we were gratified to see many fine public attended monthly Visual Arts committee 25 years. While funding challenges defeated buildings coming to the fore again. meetings. A special thanks to all those who Other Monmouthshire cultural heroes, too often that idea, Dewi-Prys is still very present with us came, month after month. invisible to local residents, needed to be found We also hoped that the fantastic photographic on the Maes. Do go to the Societies 1 pavilion a place on this magnificent natural stage, set response of James Morris to the shortlisted It’s been a roller coaster process getting all this at 12.00pm, Tuesday, 2 August for a worthy between the three mountains of Skirrid, Blorenge architecture projects last year, might yet again to the Maes on Castle Meadows, much like that celebration. and Sugar Loaf. After all this was a once-in-a find a place in Y Lle Celf at Abergavenny. It did. rumbustuous procession past the Angel Hotel. We debated long and hard about the lessons to But it’s been worth it. We hope it moves you. hundred-year chance. It was their moment for The committee very swiftly, and maybe be learnt from the Open Exhibition curated by the limelight, for the spotlight. So was born our surprisingly, (given the potentially soporific Michael Nixon at Meifod last year. We wanted Special Exhibition - Ffiniau . atmosphere of the Mayor’s Parlour) through Patrick Hannay ‘interpretation’ maintained and improved, to How could one of the greatest cultural writers intense debate came to a consensus on putting Chair allow you to move beyond your emotional of the 20th century Raymond Williams, a local forward names for a curator and two other Visual Arts Sub-committee admiration of any piece. Angharad Pearce 8 9 Y Lle Celf 2016 Y Lle Celf 2016

Creu Cysylltiadau Making Connections

Mae'r Lle Celf, oriel arddangos Celfyddydau Y Lle Celf, the exhibition gallery for the Visual Gweledol a Chymhwysol yr Eisteddfod, gyda and Applied Arts on the Eisteddfod Maes, with chefnogaeth barhaus Cyngor Celfyddydau continued support from Arts Council of Wales, Cymru, yn cynnig cyfleoedd i greu cysylltiadau. provides an opportunity to make connections.

Mae'n grwydrol ac felly gellir mapio pob Peripatetic in form, one could map each ymrithiad ohono'n gyfres o deithiau a manifestation of Y Lle Celf, as a series of journeys phrofiadau ar hyd a lled Cymru. Efallai bod and experiences across Wales. The artists and mapio teithiau'r artistiaid, y detholwyr a'r bobl selectors direction of travel, and the journeys of a brofodd Y Lle Celf yn fwy cymhleth. Ond mae'n people who have experienced Y Lle Celf are bwysig deall y daith i ddeall arwyddocâd yr perhaps a little more complex to chart. arddangosfa a gyflwynir ar y Maes a dangos Nonetheless it is important to do so in order to sut y gall y celfyddydau gweledol gyfoethogi understand the significance of the exhibition bywyd y genedl gan adleisio gweledigaeth presented on the Maes and to demonstrate how Cyngor Celfyddydau Cymru ar gyfer y the visual arts enrich the life of the nation – celfyddydau yng Nghymru. echoing the Arts Council’s vision for the arts in Paul Emmanuel, Wales. Paentiad grid oren / Orange grid painting A finnau'n Rheolwr Portffolio Celfyddydau Gweledol a Chymhwysol Cyngor Celfyddydau From my personal perspective, as the Portfolio is aimed at school aged children who have Cymru, gellir mapio fy nghysylltiad personol â'r Manager at Arts Council of Wales for the Visual demonstrated a particular talent or potential Lle Celf drwy ein rhaglenni ariannu. Grantiau Gordon Dalton and Applied Arts, my connection to Y Lle Celf in the visual and applied arts. This is set to Cymru Greadigol yw'r grantiau i artistiaid sydd Ta ta may be charted through our funding and develop and nurture the next generation of uchaf eu bri. Anogant arbrofi a mentro ar adeg datblygu a meithrin y genhedlaeth nesaf o programmes. Creative Wales Awards are one artists that one day we will perhaps see dyngedfennol a chryfhânt ymarfer a artistiaid a gaiff, o bosibl, eu harddangos un of our most well regarded grants to artists. featured in Y Lle Celf. chynhaliant yrfa artistiaid Cymru. Mae nifer o Encouraging experimentation and risk taking dydd yn Y Lle Celf. Turning to the artists exhibiting in Y Lle Celf, the gyn-enillwyr yma yn Y Fenni eleni: André Stitt, at a critical stage, they strengthen practice and selection registers a point in career, provides a Gordon Dalton, Paul Emmanuel, yn ogystal â'r O ran yr artistiaid sydd yn Y Lle Celf, noda'r sustain careers of artists in Wales. A number of means to access new audiences and detholwyr Helen Sear ac Anthony Shapland i dewis hwn drobwynt yn eu gyrfa gyda chyfle i past awardees are featured this year at opportunities as well as generating new enwi ychydig. gael hygyrchedd i gynulleidfaoedd a Abergavenny: including André Stitt, Gordon conversations and understanding around their chyfleoedd newydd yn ogystal â sbarduno Dalton, Paul Emmanuel, as well as the selectors Gyda rhaglenni arloesol mewn ysgolion, work alongside that of other artists in the sgyrsiau a dealltwriaeth newydd am eu gwaith. Helen Sear and Anthony Shapland. hyderaf y bydd athrawon, pobl ifainc a Dyma un o'r prif gyfleoedd arddangos talent exhibition. As one of the key showcases in the theuluoedd yn ymweld â'r arddangosfa gydag yng nghalendr y celfyddydau gweledol a chrea With ground breaking programmes now being visual arts calendar, the exhibition creates a egni a dealltwriaeth newydd. Mae Dysgu foment i'r gymuned ymgysylltu â'r gwaith mewn established in schools, I suspect some teachers, moment for the community to engage with the Creadigol drwy'r Celfyddydau, ein rhaglen trafodaeth feirniadol o gyfeillgar gyda chyd- young people and their families visiting the work and in healthy critical debate with peers gyda Llywodraeth Cymru, sydd erbyn hyn yn artistiaid a'r cyhoedd er mwyn cael golwg o'r exhibition, will be doing so with new vigour and and public to gain a fresh perspective and ei hail flwyddyn, yn ategu ein cred bod newydd a sail i eiriolaeth dros waith a understanding. Creative Learning through the build advocacy for work made in Wales. creadigrwydd yn hanfodol i lwyddiant a Arts, our programme with Welsh Government, gynhyrchir yng Nghymru. Y Lle Celf is a moment for us all to celebrate chyflawniad pobl ifainc. Hyd yn hyn mae 276 now in its second year, is rolling out our shared the visual and applied arts. Allow yourself time ysgolion yn rhan o'r rhaglen a thros 300 o Cyfle i bawb ddathlu'r celfyddydau gweledol a belief that creativity is essential to the success to take in the work, even the things you find athrawon yn cael budd o'r cyfleoedd hyfforddi. chymhwysol yw'r Lle Celf. Cymerwch eich amser and fulfilment of young people. To date 276 difficult to understand at first. The live guides i fyfyrio ar y gwaith, hyd yn oed ar y darnau nad schools are participating in the programme Cafodd Criw Celf, ein rhaglen ddatblygu talent and enhanced interpretation materials are ydynt yn apelio'n syth. Bydd y tywyswyr a'r and over 300 teachers are benefiting from arloesol a ddyfeisiwyd yn wreiddiol yng available to assist you in your journey, to help deunyddiau dehongli ar gael i'ch arwain ar hyd training opportunities. Ngwynedd, sylw cenedlaethol a hynny bron yn y daith ac ysgogi eich dychymyg er mwyn ichi your imagination along the way to make your syth bin. Mae Criw Celf ar waith yn Sir Fynwy a'i ymgysylltu'n bersonol â'r arddangosfa. Criw Celf, a ground-breaking talent own connections with the exhibition. tharged yw plant oed ysgol sydd wedi development programme originally conceived arddangos talent neu bosibiliadau neilltuol yn y Louise Wright in Gwynedd, has quickly gained national Louise Wright celfyddydau gweledol a chymhwysol. Bydd yn Cyngor Celfyddydau Cymru coverage. Active in Monmouthshire, Criw Celf Arts Council of Wales 10 11 Sylwadau’r Detholwyr Selectors’ Statements

Ar beth ydyn ni’n edrych? eu gwrthod a gall sawl ego clwyfedig barhau am ychydig. Mae’r arddangosfa’n ail-greu ei Sgwrs rhwng Helen Sear, Rachel Conroy ac hun flwyddyn ar ôl blwyddyn wrth i’r detholwyr Anthony Shapland. newid ac wrth i’r stori fynd rhagddi. Anthony Shapland : Rwy’n meddwl bod pawb HS : Roedd cyflwyniad cryf o’r cyfryngau seiliedig ohonom yn gytûn y bu dethol Arddangosfa ar lens eleni, yn cynnwys ffilm, fideo a Agored yr Eisteddfod yn waith na chafodd yr ffotograffiaeth, ac roedd rhai ffefrynnau amlwg. un ohonom brofiad tebyg iddo o’r blaen. Efallai Roedd Byd Dau gan James Moore, paniad mai hon yw’r broses fwyaf democrataidd, i’r sinematig araf ar draws cyfres o ddioramâu graddau y gall unrhyw broses fod. Caiff pob dystopaidd heb eu poblogi, yn atgoffa rhywun cyflwyniad rif, a roddir iddo pan fydd yn o David Lynch y gwneuthurwr ffilmiau a’r artist cyrraedd swyddfa’r Eisteddfod, a’r cyfan a David Thorpe. Wedi ei greu o’i baentiadau ei ddywed y rhifau hyn wrthym yw’r drefn y hun a setiau amgueddfa wedi’u llwyfannu, mae cyflwynodd yr artistiaid y gweithiau. Artist rhif X, realiti a naratif ffuglennol yn cydfodoli mewn delwedd un, delwedd dau, delwedd tri, pedwar, byd sydd wedi’i guddio tu ôl i furiau, cabinetau pump, chwech. Rhif yr artist nesaf X+un, ac yn y gwydr ac adeileddau pensaernïol, a animeiddir blaen. Roeddwn wedi sylwi bod fy ngheisiadau i o bryd i’w gilydd gan sgriniau bychan o s wˆ n yn y gorffennol bob amser wedi bod â rhifau gwyn. Mae hyd yn oed y delweddau paentiedig uchel – y munud diwethaf fydd hi bob tro gen i. o fyd natur yn cael eu cyflwyno fel pe baent yn Llywiodd Robyn Tomos ni trwy’r gwaith. Felly, ar aerglos ar gyfer ein mwynhad dynol ni. Cryfder gyfer y rownd gyntaf edrychom ar bopeth a y gwaith, sy’n ei wahanu oddi wrth y gweddill, oedd wedi’i gyflwyno. Morag Colquhoun yw ei gynhyrchiad technegol isel di-ffws, sydd er Popeth. Pedair marwolaeth fach Rhif 4 / hynny yn parhau i gynnal ein dyfalu a gwneud Four small deaths: No. 4 i ni rythu ar y gyfres ddi-ben-draw o olygfeydd a Cymaint o stwff, cymaint o waith, cymaint o yn un sy’n ddealladwy a chyfoethog; un y gyflwynir. Mae’r gwaith hwn yn ddatblygiad drafod. Pethau yr ydym, ac nad ydym, yn eu Kate Haywood gobeithiaf y bydd yr artistiaid yn teimlo sy’n cyffrous ac yn estyniad ar arfer paentio hadnabod. Pethau yr ydym, ac nad ydym, yn Volta (manylyn / detail) gwneud cyfiawnder â’u gwaith ac un y bydd blaenorol yr artist ac yn cyfuno cyfryngau mewn eu hoffi. Mae’n ddrwg gennyf nid “pethau” ond thrwy gydol y broses o edrych, darganfod a ymwelwyr â’r Lle Celf yn cael eu hysgogi ffordd atgofus ryfeddol. Mae grym diollwng “celf” – celf wedi’i wahanu oddi wrth ei awdur, thrafod. Fel tîm, roeddem yn edrych nid yn unig ganddi. Ar nodyn symlach, mae’n syndod na lleoliad trosedd yn ffotograffau Richard Lloyd yn sefyll ar ei ben ei hun. ar ansawdd y gweithiau unigol, ond hefyd ar wnaethom anghytuno’n amlach… Lewis o goed marw yn yr hwyr, ac mae’r golau Helen Sear : Mae’r her o ddethol hyd at 30 o ffurf a hunaniaeth bosibl yr arddangosfa. llachar a deflir fel mellten ar ei wrthrychau yn AS : Oedd, roedd cymaint o gyfuniadau posibl fel artistiaid - neu 26 yn yr achos hwn - ar gyfer yr rhoi’r argraff o fod yn weithred o ailwefru’r coed Rachel Conroy : 243 cynnig, ond un y gallai fod wedi bod yn hawdd anghytuno. arddangosfa allan o 243 darn a gyflwynwyd yn â bywyd. Yn y portreadau hardd ac ysgytwol arddangosfa. Fel curadur sy’n gweithio gyda Rwy’n credu fod pob un ohonom yn ceisio dewis dasg gyffrous a hefyd yn her, yn enwedig pan fo hyn, mae ffotograffiaeth fel petai’n gweithredu chasgliadau cyhoeddus, roedd proses guradu’r y gwaith gorau, y stwff mwyaf diddorol, tra’n safon y cyflwyniadau yn uchel a bod y rhestrau fel potensial ar gyfer ail-animeiddio, yn hytrach Arddangosfa Agored yn wahanol iawn i’r un yr ceisio ei ddychmygu mewn pabell yn Y Fenni. Ie ac Efallai mor anodd i’w cwtogi. na’u ffosilio hwy mewn amser. wyf yn fwyaf cyfforddus a chyfarwydd â hi. Unwaith eto, rwy’n hoff iawn o ddemocratiaeth Roedd y gweithiau a oedd yn dod i’r amlwg i ni Trodd y broses honno wyneb i waered. Drwy y broses - gall unrhyw un gynnig, artist amatur Mae Tania Coates yn archwilio tirwedd Dyffryn yn dangos bwriad clir, nid o ran ystyr, gydol y dasg sylfaenol a brawychus – nid oes ots neu broffesiynol, enwau cyfarwydd sydd eisoes Maesyfed gyda lens llai gothig, y camera’n hunaniaeth neu gyfrwng sefydlog, ond gwaith gennyf gyfaddef hynny - o ddewis gweithiau yn rhan o’r byd celf yng Nghymru, yn ogystal â llawer agosach i’r llawr, fel pe bai’n pori neu’n a oedd yn dangos hyder a phresenoldeb, a unigol, roedd yr arddangosfa yn yr un modd wynebau newydd o’r pentref lleiaf. Ar un adeg anwesu’r tarth a’r gwellt, y drain clwm a’r eithin, wnaeth i ni edrych arno eilwaith a’n dal i gyfrif. ar flaen fy meddwl. Nid dim ond dewis ar sail gosodom ddau artist, wedi eu hadnabod yn ôl sy’n gorchuddio’r dirwedd eang a syfrdanol Roedd y gweithiau hyn i’w gweld ar draws pob ansawdd, cryfder ac effaith oedd y dasg ond eu rhifau yn unig, ochr yn ochr a thrafod pa un hon. Drwy’r broses arsylwi tawel, mae’r lluniau’n ffurf a chyfrwng; gweithiau a oedd yn arbennig hefyd ystyried yr angen i ddatblygu naratifau ddylai fynd trwodd. Dim ond yn ddiweddarach, effeithio ar y gwyliwr â theimlad o dreigl amser o fewn eu ffiniau eu hunain, ond a oedd hefyd ehangach. Dros y dyddiau y gwnaethom ni’r ar ôl dewis y ddau, y gwnaethom ddarganfod a’r profiad o fod ar eich pen eich hun ym yn cysylltu ac yn cyfathrebu â gweithiau eraill a detholwyr eu treulio gyda’n gilydd, daeth hyn mai tad a mab oedden nhw… Gall unrhyw un mhresenoldeb amser dwfn mewn natur. Er yn gyflwynwyd. Mae hyn, wrth gwrs, yn rhywbeth hyd yn oed yn fwy pwysig wrth i’n rhestr hir gael gynnig a gall unrhyw un gael ei ddewis, ond - cynnwys rhinweddau aruchel, mae’r lluniau’n na ellir ei benderfynu ymlaen llaw ond yn ei chwtogi. Y dasg heriol oedd siapio ffrwd o fel y mae llawer o artistiaid yn dysgu - gall ymwrthod â’r driniaeth or-ddramatig sy’n cael hytrach mae’n rhywbeth sy’n digwydd yn a wahanol leisiau yn sgwrs rwyf i’n gobeithio fydd unrhyw un gael ei wrthod hefyd, ac yn aml cânt ei harfer weithiau gan y mudiad Rhamantaidd. 12 13 Sylwadau’r Detholwyr Selectors’ Statements

Am nifer o flynyddoedd bu Bryony Dalefield Mae gweithiau Liam O’Connor, hefyd o Faesteg, yn creu cyfres o weithiau’n cynnwys ffigurau sy’n cyfuno portreadaeth hynod grefftus mewn a delwau a ddarlunnir yn llythrennol drwy olew ar sinc gyda gorchuddion neu ddefnydd ddefnyddio amlinelliad ei chorff ei hun a paentiedig, yn baentiad a cherflun. Felly hefyd chorff ei phartner. Wedi’u gweithio ar lieiniau weithiau Kelly Best a Mark Houghton, dau artist a chotwm lliw gwyn a hufen, mae’r llinellau sydd wedi gweithio, ar y cyd ac ar wahân, i teneuaf a dynnir gan ewin bys ar ffabrig yn greu darnau cerfluniol hynod sydd â lluniadu dod yn wellt y dolydd wedi’u brodio’n gywrain. yn graidd iddynt. Mae’r offer llaethdy a Mae breuder a chynilrwydd palet yr edafedd ailgynhyrchwyd yn rhagorol gan Beth Elen weithiau’n gwneud siâp y ffigur yn annelwig, Roberts yn mynd ag elfen fywgraffiadol gam yn codi o, ac yn dychwelyd i’r ffabrig sy’n ei ymhellach, ac mae swyddogaethau a gynnal. Yn wahanol i Amwisg Turin, mae’r tharddiadau'r cerfluniau cynnil hyn yn llieiniau crog hyn yn dangos cylch bywyd a ychwanegu naratif arall sy’n deillio o fywyd cefn gysylltir yn fwy â thraddodiadau paganaidd gwlad Cymru. natur a’r cynhaeaf, y corff dynol yn cael ei Gwneuthuriad a g wˆ yl symudol yw traddodiad fynegi fel nodweddion cae. ac, i ryw raddau, hanes, sy’n datblygu a newid RC : Corff o waith newydd gan Lisa Krigel yw gydag amser. Arwydd o ddiwylliant cryf yw ei Deunaw Llawr a ddisgrifir fel ymateb i fod yn caniatáu ar gyfer ail-ddyfeisio a “harddwch dadleuol pensaernïaeth frwtalaidd” chwestiynu popeth ynddo’i hun. Rwyf wedi bod ac a ddylanwadir gan ddull teipolegol Bernd a o’r farn erioed mai’r hyn sy’n gwneud y Hilla Becher ar gyfer dogfennu adeiladau celfyddydau yng Nghymru yn ddiddorol yw Jack Burton tynnu’n ôl y traddodiad a thynnu ymlaen y diwydiannol. Mae Lisa Krigel yn gweithio o Gwesty / Hotel Stiwdio Glai Fireworks yn ardal Glanyrafon, cyfoes, ac mae ei hartistiaid yn adlewyrchu Caerdydd, a tybed faint y mae’r amgylchedd cylchoedd perffaith o slip lliw p wˆ l, arlliwiau Beth Elen Roberts hyn ac yn ffynnu yn y posibiliadau a gynigir gweithio trefol hwn hefyd wedi dylanwadu. llwyd y torrir arnynt weithiau gan linell goch Tudalennau 102 - 105 / Pages 102 – 105 ganddo. Mae’r llestri a wnaed â llaw - powlenni mezze neu binc, yn bywhau a newid arwyneb y wedi’u gwneud o sidan, cwyr a gwifren. Bu’n HS : Mae cymaint o ddarnau yn yr arddangosfa a brecwast, potiau te a choffi, cwpanau a gwrthrych. Yr effaith ar gyfer y gwyliwr yw gweithio gydag Amgueddfa Cymru i ddysgu’r sy’n cwestiynu eu hunain a’u gwneuthuriad phlatiau - ac wedi’u pentyrru, yn drawiadol teimlad o ddatseinedd a rhith gweledol, gan grefft hon, a chaiff cyfnod amser ei wneuthuriad drwy fabwysiadu nifer o ddulliau, sydd rywsut a hardd o’r dechrau. Ar yr edrychiad cyntaf, achosi, fel y disgrifiwyd gan yr artist, “ddryswch ei reoli gan oes naturiol y planhigyn – gwneir yn cuddweddu rhai agweddau o’u cyfrwng ac efallai yr awgrymir swyddogaeth - dolen neu ffisegol”. Yn hudol bron, gall ffurf ceugrwm copi artiffisial cyn y bydd y model naturiol yn yn arddangos elfennau eraill. Gofynnwyd y big - ond gwrthrychau cerfluniol yw’r rhain; ymddangos yn amgrwm, neu’n wastad. Mae marw. Yn yr un modd, ond gan ddefnyddio dull cwestiwn “Ar beth ydyn ni’n edrych?” yn aml. Ar tyrau crochenwaith pensaernïol. O’u grwpio gwaith Kate Haywood yn defnyddio lliw i greu cwbl wahanol, caiff ffotograffau Jack Burton o y cyfan roedd gan y gweithiau a ddechreuodd â’i gilydd ar fyrddau derw tebyg i drawstiau effaith yr un mor feiddgar. Mae Volta a Pommel dableaux wedi’u llunio’n amrwd eu harddangos amlygu, o’r cyflwyniadau Celfyddyd Gain a rheilffordd, maent yn creu dinaslun pen bwrdd. yn cyfuno porslen anwydrog gyda chotwm a ar ddarn o silff, wal ffrâm pared sy’n dynwared Chrefft a Dylunio, ddeialog gyda’i gilydd ar Mae’r gwydreddau’n symud drwy lwydion p wˆ l a gwlân wedi’i wehyddu. Mae’r gwaith yn golygfeydd. draws disgyblaethau, gan ddangos nid yn unig gleision duraidd i liwiau melynllwyd cynhesach, fwriadol amwys. Mae’n gwneud cyfeiriadau at gryfder celf a chrefft yng Nghymru ond hefyd sy’n adlewyrchu’r strwythurau concrid a’u draddodiadau defodol ac addurniad y corff, ac Ers ennill yr Ysgoloriaeth Artist Ifanc yn 2003, ddulliau i wneud hynny i gydseinio o fewn cyd- hysbrydolodd. Pan gânt eu datgymalu, ddarn mae’n dangos cefndir Kate Haywood mewn mae Richard Bevan, sy’n enedigol o Faesteg, destun cyfoes rhyngwladol. wrth ddarn, i’w cydrannau unigol, yn araf gemwaith a serameg. Efallai mai’r berthynas wedi ennill ei blwyf. Mae’r Maes, pa bynnag datgelir eu dibenion ymarferol. Gwrthrychau uniongyrchol hon â’r corff dynol, yn ogystal â’u faes ydyw, wedi bod yn gefnlen i’w yrfa. Mae AS : Mae Arddangosfa Agored yr Eisteddfod, ydynt sy’n gwahodd cyffyrddiad a rhyngweithio. cyfeiriadaeth hanesyddol, sy’n gwneud i delwedd symudol ar ffilm yn gofyn am mewn nifer o ffyrdd, yn addasiad i Gymru tebyg Fe fyddwn wrth fy modd yn eu defnyddio. ddarnau Kate Haywood deimlo mor werthfawr ffynhonnell goleuni ar ddwy foment bendant: yn i New Contemporaries, neu The British Art Show; ond eto’n gyfarwydd yn eu hanfod. gyntaf er mwyn dal y delweddau ar y ffilm, ac mae’n unigryw yn y DU. Nid oes unman arall lle Un o breswylwyr eraill Fireworks, y detholwyd yn ail er mwyn eu rhyddhau ar y sgrin. I Richard mae celf gyfoes - a feirniadir yn aml am fod yn ei waith ar gyfer yr Arddangosfa Agored, yw AS : Roedd y gweithiau nad oedd yn hawdd eu Bevan mae’r un pwysigrwydd i’r ddwy foment weithgaredd elitaidd neu sydd o ddiddordeb Jin Eui Kim. Mae ei wrthrychau a luniwyd yn rhoi mewn categori yn rhai cyffrous. Cyfres o hon ac mae materoldeb ffilm, o gymharu â lleiafrifol - wedi cael ei ddosrannu mor dwyllodrus syml yn gweithredu’n bennaf fel ddioramâu ffotograffaidd gwydr yw Pedair gweithiau delwedd ddigidol symudol, yn ddemocrataidd. Caiff ei chasglu, o wahanol canfasau ar gyfer bandiau tonaidd hynod ennyd semenaidd gan Morag Colquhoun, pob gwneud y darnau hyn yr un mor gerfluniol ag leoliadau ledled Cymru a thu hwnt, a’i symud i fanwl sydd wedi’u hymchwilio’n ofalus. Mae’r un yn dal planhigyn a grefftiwyd yn gywrain, ydynt o ffilmol. safle a allai fod cyn hynny yn fferm, gwaith dur, 14 15 Sylwadau’r Detholwyr Selectors’ Statements

iddo basio dro ar ôl tro drwy beiriant gwnïo. Mae ffilmiau hardd a grymus Jayne Parker hefyd yn amlwg yn ddylanwadol. Fel artistiaid rydym dan bwysau cynyddol i egluro pwnc, cynnwys ac ystyr drwy gyfrwng iaith, ac yn aml caiff profiad gweledol ei gysgodi gan ddehongliad. Nid oes angen i ni bob amser ddeall er mwyn cael profiad, a daeth gwaith Richard Bevan â mi i fan lle roeddwn yn meddwl beth allai fod yn fy wynebu. Dyma a’i gwnaeth yn enillydd amlwg i mi, y ffaith i’r gwaith, yn dawel a heb dynnu sylw, fy hudo i’w fyd.

Richard Bevan AS : Dros y blynyddoedd, drwy wahanol RW2 brosiectau curadurol yng Nghymru, rwyf wedi yn rhagorol. Maent yn fedrus ac mor agos i gofyn i mi fy hun: “Os oes byd celf yng Nghymru, gerflunio a barddoniaeth ag ydynt i ddelwedd ble mae’n digwydd, ble ydym ni’n croesi symudol. Roedd gallu technegol a llwybrau? Beth yw’r meini prawf diwylliannol chymhlethdod ffilm Gwenllian Llwyd, a enillodd sydd gennym? A yw’n wahanol, er enghraifft, yr Ysgoloriaeth Artist Ifanc, hefyd yn arbennig. i fyd celf gweddill y DU ac, os ydyw, beth sy’n ei Roedd ei ffilm Dirywiad a dadfeiliad yn gosod wneud yn wahanol?” Efallai ein bod yn teimlo Gwenllian Llwyd ein bod yn gwybod, efallai ein bod yn darllen Dirywiad a dadfeiliad (delwedd lonydd / still image) golygfeydd ac elfennau acwstig yn haenau a dangosodd y cysylltiad clir rhyngddi hi fel y traethodau ar gelf yng Nghymru, gan Iwan neu chwarel. Trefnir y gwaith yn y babell, daw serameg Lisa Krigel yn syfrdanol - mor wahanol gwneuthurwr ffilm a’r bobl a’r lleoedd y mae’n Bala, Peter Lord neu Tony Curtis. Ond er bod degau o filoedd o bobl i edrych arno ac yna i gyrff blaenorol o waith gan yr artist gyda eu dogfennu, artist sydd â llygad gwneuthurwr y safbwyntiau hyn yn gywir yn eu cyfnod eu caiff ei gludo’n ôl i’r man lle cafodd ei gasglu’n gweledigaeth artistig, medr technegol a dylunio rhaglen ddogfen. Bydd diddordeb gennyf i weld hunain - mae pethau’n symud genhedlaeth wreiddiol. Yn y blynyddoedd eilrif bydd yn y De; rhagorol mewn cytgord. beth ddaw i’r brig o ran Gwobr Josef Herman - ymlaen ac mae’r ongl yn symud, y ffocws yn Yn y blynyddoedd odrif bydd yn y Gogledd. HS : Mae gwaith Lisa Krigel yn wledd i’r llygad. Dewis y Bobl… newid ac mae’r pethau a fyddai efallai wedi Mae’r holl beth, gyda’i hynodrwydd a’i Mae ffurf a swyddogaeth yn cyfuno’n berffaith, nodweddu celf yng Nghymru yn wahanol. gymhlethdodau a’i hurtrwydd gwych yn HS : Roedd gwaith Richard Bevan yn nodedig drwy ei chrefftu â chlai a gwydredd, wrth i lestri Wrth feddwl am y cwestiynau hyn, ar ôl y nodweddiadol Gymreig. Mae wedi’i gysylltu i’r oherwydd ei fod yn ymddangos mor syml. Gwn cegin harddwych bentyrru fel cerflun domestig. dyddiau dethol, sylweddolais fy mod yn chwilio tir y mae ynddo, i’r lle y mae ynddo, y caeau, nad yw hyn yn hawdd i’w gyflawni. Drwy Mae ei ffurfweddau’n herio’r siwgraidd a’r am leisiau newydd, neu leisiau a oedd yn y bryniau a’r ‘lleol’ yn fwy nag y mae i unrhyw awgrym cynnil ac ambell i ddolennu addurniadol, wedi’i seilio ar bensaernïaeth canu’n wahanol. Os nad yw’n ymestyn y adeilad neu sefydliad blaengar. Mae’n delweddau, daw byd du a gwyn dieithr i’r frwtalaidd a ffotograffau Becher. Cyfuniad y gyfatebiaeth yn ormodol, mae’r gân yn hen ond egalitaraidd. amlwg; amser yn dal ei hun mewn gofod strwythurau enfawr sy’n llywio’i darnau, ac mae ffisegol, rhywbeth i’ch hoelio dan gyfaredd o’i mae’n parhau. Dychwelwn i’r un hen gytgan o AS : Yn y canllawiau i’r testun hwn, nododd y eu maint domestig yn gwneud y gwaith yn flaen, yn hytrach na gwylio naratif yn datblygu. bryd i’w gilydd - yr un byrdwn - mae pawb yn pwyllgor y bydd pobl eisiau gwybod ar ba sail ddatganiad mor gyhyrog. Mae fel petai ei holl Mewn byd lle gall pawb saethu a golygu ei ffilm gwybod y cytgan ac mae’n ein huno. Gwyddom y gwnaethom ddyfarnu’r Fedal Aur, sut a pham ddylanwadau o’r gorffennol wedi dod ynghyd i ei hun ar ddyfeisiau cludadwy, mae wedi y geiriau, felly gwyddom beth sy’n dod nesaf, y dewisom y rhai a ddewiswyd gennym. Beth greu’r gweithiau unigryw hyn sydd â mwynhad gwneud y penderfyniad i weithio gyda ffilm mae pawb ohonom yn cytuno ac yn deall. Ond ydych chi’ch dau’n feddwl? chwarae a bwyd yn greiddiol iddynt. Hoffwn 16mm a chynnwys y taflunydd ffilmiau yn rhan wrth i’r gân fynd rhagddi, bydd penillion gael un yn fy nghartref. RC : Tybed a fydd gan bobl ddiddordeb neu a ganolog i’r gwaith pan gaiff ei arddangos. newydd bob amser. Mae pobl am wybod pam fyddant yn cael eu synnu i wybod fod pawb AS : Roedd hi’n ddiddorol ein bod ni gyd, ar Daw’r traddodiad hwn o ffilm fel defnydd gan ein bod yn dewis rhywun ar gyfer Y Fedal Aur? ohonom wedi cytuno’n llwyr o’r dechrau. I mi, wahân ac yn annibynnol, wedi dewis yr un wneuthurwyr ffilmiau adeileddol y 1960au a’r Efallai mai dyna ydyw, yn yr amser hwn eleni roedd y ddau enillydd medal yn sefyll allan am bobl. Roedd Richard Bevan yn ddewis ar ’70au a byddaf yn meddwl am berfformiad ffilm mae lleisiau sy’n sefyll allan, sy’n cludo’r gân i wreiddioldeb eu cyflwyniadau. Yn syml, fe unwaith i mi - roedd y ffilmiau cain a syml hyn, 16mm Annabel Nicholson, Reel Time (1973), yn rywle arall. wnaeth y gwaith fy nghyffroi. Roedd gwaith a oedd yn ymylu ar fod yn fyfyrdodau di-naratif, dolennu’n raddol o gysgod i binau o oleuni wrth 16 17 Sylwadau’r Detholwyr Selectors’ Statements

What Are We Looking At?

A conversation between Helen Sear (HS), Rachel Conroy (RC) and Anthony Shapland (AS)

Anthony Shapland: I think all of us agree that selecting the Eisteddfod Open Exhibtion has been like no other we’ve been involved with. It is perhaps the most democratic of processes, as much as any can be. Each submission has a number, allocated as it arrives at the Eisteddfod office, and all these numbers tell us is how prompt or late people were in submitting. Artist number X, image one, image two, image three, four, five, six. Next artist number X+one, and so on. I made a mental note that my submissions in the past have always had high numbers – I’m always last minute. Robyn Tomos took us Richard Lloyd Lewis through the work. So for the first round, we Digwyddiad 05 / Event 05 looked at everything that had been submitted. Rachel Conroy : 243 submissions, but one Everything. exhibition. As a curator working with public James Moore collections, to me the Open Exhibition was a very So much stuff, so much work, so much debate. Byd Dau (delwedd lonydd) / World Two (still image) Things we recognise, things we don’t. Things we different curatorial process to the one that I am names that are already part of the canon of art of the natural world are presented as like, things we don’t. “Art”, sorry, not “things” – art most comfortable and familiar with. It turned in Wales, as well as a new face from the smallest hermetically sealed for our human separated from its author, standing alone. that process on its head. Throughout the fundamental and – I don’t mind admitting it – village. There was a point when we put two consumption. The strength of the work, which Helen Sear: The challenge of selecting up to 30 intimidating task of selecting individual works, painters, identified by their numbers only, side- sets it apart, is in its low-tech and unflashy artists – or 26 in this case - for the exhibition out the exhibition was likewise at the forefront of my by-side and discussed which should go through. production, which nevertheless continues to of a submission of 243 is a simultaneously mind. The question was not only of choosing on It was only later, after selecting both, that we suspend our disbelief and fix our gaze to the exciting and a daunting prospect, especially the basis of quality, strength and impact, but of discovered they were father and son… Anyone conveyor belt of scenes presented. This work is when the quality of submissions was high and also being mindful of the need to develop can enter and anyone can be selected, but – as an exciting development and extension of the the Yes and Maybe lists were so difficult to broader narratives. Over the days we selectors a lot of artists learn – anyone can be rejected too artist’s previous painting practice and reduce. spent together, this became evermore important and often they are and the bruised egos get synthesises media in a brilliantly evocative way. The work that stood out for us showed clarity as our long list was whittled to an increasingly carried around for a while. The show re-invents Richard Lloyd Lewis's photographs of dead trees of intention, not in terms of a fixed meaning, short one. The challenging task of shaping a itself year after year as the selectors change and at night have the haunting power of a crime identity, or medium, but work that displayed a stream of diverse voices into, what I hope will the story goes on. scene and the stark light, like a bolt of lightning, shone upon his subjects, feels like an act of re- confidence and a presence, that made us look be, a coherent and enriching conversation; one HS : There was a strong lens-based media charging the trees with life. In these beautiful again and held us to account. These works I hope the artists feel does their work justice and submission this year, including film, video and and moving portraits, photography appears to appeared across all forms and media; works that visitors to Y Lle Celf will find stimulating. On photography, and some particular favourites act as a potential for reanimation, rather than that stood out within their own boundaries, but a more prosaic note, I’m surprised that we didn’t really stood out. James Moore’s World Two , a fossilising them in time. also made connections and conversations with disagree more often… slow cinematic pan across a series of other submitted works. This is, of course, AS : Yes, there were so many possible unpopulated dystopian dioramas, was Tania Coates explores the landscape of the something that cannot be predetermined but combinations that it would have been easy to reminiscent of David Lynch the filmmaker and Radnor Valley with a less gothic lens, the happens in and throughout the process of disagree. I think we were all trying to select the the artist David Thorpe. Fabricated from his own camera much closer to the ground, as if grazing looking, discovering and discussing. As a team, best work, the most interesting stuff, while paintings and staged museum sets, reality and or caressing the mists and grasses, the twisted we were looking not only at the quality of the picturing it in a tent in Abergavenny. Again, I fictional narrative coexist in a world hidden hawthorns and gorse, that make up this vast individual works, but also at the potential love the democracy of the process – anyone can behind walls, glass cabinets and architectural and awe-inspiring terrain. Through the process identity and form of the exhibition. enter, amateur or professional, established constructions, occasionally animated by small of quiet observation, the pictures affect the screens of white noise. Even the painted images viewer with a sense of time passing and the 18 19 Sylwadau’r Detholwyr Selectors’ Statements

Jin Eui Kim Gwrthdroad III / Inversion III Bryony Dalefield Arddelwau / Effigies Haywood’s background in both jewellery and ceramics. Perhaps it is this direct relationship Tania Coates breakfast bowls, tea and coffee pots, cups and to the human body, as well as their historical Llosgi dan reolaeth / Controlled burning plates – are at once stark and strikingly references, which makes Kate Haywood’s experience of being alone in the presence of beautiful. At first glance, suggestions of function pieces feel so precious yet inherently familiar. deep time in nature and, whilst acknowledging – a handle or spout – might present themselves, sublime qualities, the pictures resist an but these are sculptural objects; architectural AS : The works that resisted categorisation were overdramatic treatment sometimes employed stoneware towers. Grouped together on sleeper- exciting. Four seminal moments by Morag by the Romantic movement. like oak boards, they create a tabletop Colquhoun is a series of glass photographic dioramas, each holding an intricately crafted For several years, Bryony Dalefield has been cityscape. Glazes move through flat greys and plant specimen, made from silk, wax and wire. Liam O'Connor making a series of works of both figures and steely blues to warmer buff colours, reflecting She worked with National Museum Wales to Dan (manylyn / detail) effigies literally drawn from the outline of her the concrete structures that inspired them. When learn this craft, and the period of its making is own body and that of her partner. Worked on disassembled, piece-by-piece, into their zinc with painted drapes or fabric, are both dictated by the natural lifespan of the specimen white and cream coloured linens and cottons, individual component parts, their practical painting and sculpture. So too are the works of – an artificial facsimile is made before the the thinnest lines traced with a fingernail on purposes are slowly revealed. They are objects Kelly Best and Mark Houghton, two artists who natural model dies. In a similar vein, but with fabric become intricately embroidered meadow that invite touch and interaction. I would love to have worked, both collaboratively and apart, to a very different approach, Jack Burton’s grasses. The delicacy and restrained palette of use them. produce remarkable sculptural pieces that have photographs of crudely constructed tableaux drawing at their core. Beth Elen Roberts’ the threads sometimes renders the shape of the Another Fireworks resident, selected for the are displayed on a piece of shelving, a stud exquisitely reproduced dairy implements take figure elusive, both emerging from, and Open Exhibition, is Jin Eui Kim. His deceptively wall that mimics scenery. a biographical element a step further, and the returning to, the fabric that supports them. simple thrown forms serve principally as functions and origins of these minimal Unlike the Turin Shroud, these hanging cloths canvases for incredibly precise and Since winning the Young Artist Scholarship in sculptures add another narrative born out of the speak of a cycle of life associated more with meticulously researched tonal bands. These 2003, Maesteg born artist, Richard Bevan, now rural life of Wales. pagan traditions of nature and the harvest, the perfect rings of matt coloured slip, tones of grey has an established track record. The Maes, human body expressed as the anatomy of a sometimes punctuated by a line of red or pink, whichever maes it has been, has been a Tradition and, to some extent, history is a field. activate and alter the surface of the object. The backdrop to his career. Moving image on film fabrication and a moveable feast, growing and requires a light source at two definite moments: RC : Eighteen storeys is a new body of work by effect for the viewer is a sensation of optical changing with time. A sign of a strong culture is firstly in the capturing of the images onto the Lisa Krigel, described as a response to the reverberation and illusion, causing, as the artist that it allows for re-invention and a questioning film, and secondly in their release onto the “contested beauty of brutalist architecture” has described it, “physical confusions”. A of everything within itself. I have always thought screen. Both these moments hold equal and influenced by Bernd and Hilla Becher’s concave form might, quite magically, seem that what makes the arts in Wales interesting is significance to Richard Bevan and the typological approach to documenting industrial convex, or flat. Kate Haywood’s work uses colour the pull back of tradition and the pull forward of physicality of film, as opposed to digital moving buildings. Lisa Krigel is based at the Fireworks to a similarly bold effect. Volta and Pommel the contemporary, and its artists reflect this and image works, make these pieces sculptural as Clay Studio in the Riverside area of Cardiff and both combine unglazed porcelain with woven thrive in the possibilities it opens up. cotton and wool. The work is deliberately much as they are filmic. I wonder how much this urban working HS : So many pieces in the exhibition question ambiguous. It references ritual traditions and environment might also have played its part. Also from Maesteg, Liam O’Connor’s works, themselves and their making through adopting the adornment of the body, and reflects Kate The stacked, hand-thrown vessels – mezze and combining highly skilled portraiture in oil on multiple approaches, which are somehow both 20 21 Sylwadau’r Detholwyr Sylwadau’r Detholwyr Selectors’ Statements Selectors’ Statements

camouflaging some aspects of their medium and displaying others. So often the question, “What are we looking at?” was asked. In general terms the works that began to emerge, from both the Fine Art and Craft and Design submissions, had a dialogue with one another across disciplines, reflecting not only the strength of art and crafts in Wales but also approaches to making that resonate within an international contemporary context. Gwenllian Llwyd AS : The Eisteddfod Open Exhibition is, in many Dirywiad a dadfeiliad (delwedd lonydd / still image) ways, a skewed Wales equivalent of New Contemporaries, or The British Art Show; it is within a physical space, something to be held Richard Bevan unique in the UK. Nowhere else has fascinated in front of, rather than watching a RW2 contemporary art – often criticised for being narrative unfold. In a world where everyone can crafting of clay and glaze, as beautiful an elitist, or minority interest, pursuit – been so shoot and edit their own movie on portable kitchenware stacks up as domestic sculpture. democratically distributed. It gets gathered up, devices, he has made the decision to work with Her configurations defy the saccharin and from various locations across Wales and further 16mm film and include the film projector as a decorative, based both on brutalist architecture afield, and gets moved to a site where, central part of the work when exhibited. This and the Becher’s photographs. It is the synthesis previously, there may have been cows, or a tradition of film as material draws from the of the monumental structures that inform her steelworks, or a quarry. The work is arranged in structuralist film makers of the 1960s and ’70s pieces, and their domestic scale make the work the tent, tens of thousands of people come and and I think of Annabel Nicholson’s 16mm film such a strong statement. It appears that all her look at the work and then it gets delivered back performance, Reel Time (1973), gradually past influences have collided into these unique to where it came from. In even years, it’s in the looping from shadow to pricks of light as it works that have the enjoyment of both play and South; In odd years, it’s in the North. The whole passes time and time again through a sewing food at their centre. I want one in my house. thing, with its idiosyncrasies and complications machine. The elegant and powerful films of and brilliant ridiculousness is typically Welsh. It AS : It was interesting that we all separately and Jayne Parker are also clearly influential. As artists we are increasingly under pressure to is connected to the land that it is in, to the place independently selected the same people. Lisa Krigel explain subject, content and meaning through it is in, the fields, the hills and the ‘local’ more Richard Bevan was an immediate choice for me Deunaw llawr / Eighteen storeys than it is to any building or flagship institution. – these simple elegant films, verging on the medium of language, and many times visual their own time – things move on a generation It is egalitarian. narrative-less contemplations, were exceptional. experience is overshadowed by interpretation. and the angle shifts, the focus moves, and the They are accomplished and sit as close to We do not always need to understand in order AS : In the guidance for this text, the committee things that might have characterised art in sculpture or poetry as they do to moving image. to experience, and Richard Bevan’s work stipulated that people will want to know on what Wales change. The technical ability and complexity of brought me to the point of thinking about what basis we awarded the Gold Medal, how and Gwenllian Llwyd’s film, which won her the it might be that I am confronted with. This was Thinking about these questions, after the why we choose who we chose. What do you Young Artist Scholarship, also stood out. Her film what made it a clear winner for me, the fact that selection days, I realised that I was looking for both think? Dirywiad a dadfeiliad layered scenes and the works quietly and without distraction, drew new voices, or voices that were singing RC : I wonder if people will be interested or acoustic elements, and the clear connection me into their world. differently. If it is not stretching the analogy too surprised to know that we were all in absolute between her as a filmmaker and the places and AS : Over the years, through different curatorial far, the song is old but it goes on. We return to and immediate agreement. For me, both medal people she is documenting showed an artist with projects within Wales, I have asked myself: “If the same old chorus from time to time – the same winners stood out for the originality of their a documentary maker’s eye. I will be curious there is an art scene in Wales, where does it refrain – everybody knows the chorus and it submissions. Simply put, the work excited me. what the Josef Herman Award - The People’s happen, where do we cross paths? What are the joins us together. We know the words, so we Lisa Krigel’s ceramics were a revelation – so Choice will highlight… cultural touchstones that we all have? Is it know what’s next, we all agree and understand. different to previous bodies of work by the artist But, as the song goes on, there are always new HS : Richard Bevan’s work stood out for it’s distinct, for example, from the art scene of the and a harmony of artistic vision, technical skill verses. People want to know why we pick apparent simplicity. I know this is not easy to rest of the UK and, if so, what makes it different?” and exemplary design. someone for the Gold Medal? Maybe it’s that, in achieve. Through minimal gestures and the We may think we know, we may read the essays this time, this year, there are voices that stand HS : Lisa Krigel’s work is a visual delight. Form occasional coupling of images, a strange black on art in Wales, by Iwan Bala, Peter Lord, or out, that take the song somewhere else. and function synthesise perfectly, through her and white world emerges; time holding itself Tony Curtis. But these viewpoints are accurate in 22 23 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 (Ymddiriedolaeth Gelfyddyd Brycheiniog) i'w (Brecknock Art Trust) to be awarded at the rannu yn ôl doethineb y detholwyr. discretion of the selectors.

Detholwyr Selectors

Rachel Conroy, Helen Sear, Anthony Shapland Rachel Conroy, Helen Sear, Anthony Shapland

Dyfarnwyd y wobr ganlynol: The following prize was awarded:

Richard Bevan Y Fedal Aur am Richard Bevan The Gold Medal Gelfyddyd Gain a for Fine Art and £5,000 £5,000

ENILLYDD Y WOBR CELFYDDYD GAIN WINNER OF THE FINE ART AWARD

Richard Bevan Richard Bevan Llundain London

rf# rf#

RW2 RW2

Z LP DR BK PL PF ST NN Z LP DR BK PL PF ST NN

Clwb gwyddbwyll Chess club

Richard Bevan Z LP DR BK PL PF ST NN 24 25 Y Fedal Aur am Grefft a Dylunio The Gold Medal for Craft and Design

Gwobr Prize

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

Detholwyr Selectors

Rachel Conroy, Helen Sear, Anthony Shapland Rachel Conroy, Helen Sear, Anthony Shapland

Dyfarnwyd y wobr ganlynol: The following prize was awarded:

Lisa Krigel Y Fedal Aur am Lisa Krigel The Gold Medal for Grefft a Dylunio Craft and Design a £5,000 and £5,000

ENILLYDD Y WOBR CREFFT A DYLUNIO WINNER OF THE CRAFT AND DESIGN AWARD

Lisa Krigel Lisa Krigel Caerdydd Cardiff

Deunaw llawr £225 - £650 Eighteen storeys £225 - £650

Lisa Krigel Deunaw llawr / Eighteen storeys 26 27 Ysgoloriaeth Artist Ifanc Gwobrau Eraill Young Artist Scholarship Other Awards

Gwobr Josef Herman - Dewis y Bobl Josef Herman Award - The People’s Choice Gwobr: £500 (Sefydliad Celf Josef Herman) i’w Prize: £500 (Josef Herman Art Foundation) dyfarnu i’r darn neu’r casgliad mwyaf awarded to the most popular piece or collection poblogaidd o waith yn yr Arddangosfa Agored. of work in the Open Exhibition. Gwahoddwn ni chi i edrych yn fanwl ar y We invite you to take a careful look at all the 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 work. Write the name of the artist pleidleisio. Bydd y bleidlais yn cau am 6.00pm, on the voting slip. Voting will close at 6.00pm, nos Wener,5 Awst er mwyn cael amser i gyfrif y Friday, 5 August in order to allow for counting pleidleisiau a chysylltu â'r enillydd. the votes and contacting the winner. Cyhoeddir enw’r enillydd yn Y Lle Celf am The winner’s name will be announced at 3.00pm, ddydd Sadwrn, 6 Awst. 3.00pm, Saturday, 6 August. Enillydd Eisteddfod Genedlaethol Cymru Winner at the National Eisteddfod of Wales Maldwyn a’r Gororau 2015 Montgomeryshire and the Marches 2015 Menna Angharad Felinfach, Aberhonddu Menna Angharad Felinfach, Brecon

Gwobr Ifor Davies Ivor Davies Award 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 dros iaith, diwylliant a gwleidyddiaeth Cymru. the struggle for language, culture and politics in Cyhoeddir enw’r enillydd am 2.00pm, ddydd Wales. The name of the winner will be Llun, 1 Awst. announced at 2.00pm, Monday,1 August. Gwenllian Llwyd Enillwyr Eisteddfod Genedlaethol Cymru Winners at the National Eisteddfod of Wales Dirywiad a dadfeiliad (delwedd lonydd / still image) Maldwyn a’r Gororau 2015 Montgomeryshire and the Marches 2015 Ysgoloriaeth Artist Ifanc Young Artist Scholarship Aled Rhys Hughes Rhydaman Aled Rhys Hughes Ammanford Sefydlwyd yr ysgoloriaeth hon er mwyn hybu This scholarship has been established to Christine Mills Y Foel Christine Mills Foel celf a chrefft yng Nghymru. Dyfernir yr promote art and crafts in Wales. It is awarded to Seán Vicary Aberteifi Seán Vicary Cardigan ysgoloriaeth i'r ymgeisydd mwyaf addawol er the most promising candidate to enable him or Gwobr Tony Goble Tony Goble Award mwyn ei alluogi i ddilyn cwrs mewn ysgol neu her to pursue a course in a recognised school or Gwobr: £500 (er cof am Tony Goble). Rhoddir am Prize: £500 (in memory of Tony Goble). Given for goleg celf a dylunio cydnabyddedig neu college of art and design or to attend master waith, gan artist sy’n cyfleu ysbryd barddonol y work, that conveys the poetic spirit of this Celtic fynychu dosbarthiadau meistr. Mae'r classes. The scholarship is open to those under genedl Geltaidd hon, sy’n arddangos yn yr nation, by an artist exhibiting in the Open ysgoloriaeth yn agored i'r sawl dan 25 oed. 25 years. Arddangosfa Agored am y tro cyntaf. Dyfernir, Exhibition for the first time. Awarded, on behalf ar ran y teulu, gan Adrian Metcalfe. of the family, by Adrian Metcalfe. Yn ogystal, cynigir gofod i enillydd yr The winner of the scholarship will also be Enillydd Eisteddfod Genedlaethol Cymru Winner at the National Eisteddfod of Wales ysgoloriaeth yn Y Lle Celf yn Eisteddfod offered space in next year's Lle Celf at the Maldwyn a’r Gororau 2015 Montgomeryshire and the Marches 2015 Genedlaethol Cymru Ynys Môn 2017. National Eisteddfod of Wales, Anglesey 2017. David Dawson Llundain a’r Foel David Dawson London and Foel Ysgoloriaeth: Scholarship: £1,500 (Alun Griffiths (Contractors) Ltd.) £1,500 (Alun Griffiths (Contractors) Ltd.) Gwobr Bwrcasu Contemporary Art Society for Wales Cymdeithas Gelfyddyd Gyfoes Cymru Purchase Prize Detholwyr: Selectors: Dyfernir gwobr bwrcasu gan Gymdeithas The Contemporary Art Society for Wales will Rachel Conroy, Helen Sear, Anthony Shapland Rachel Conroy, Helen Sear, Anthony Shapland 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 Dyfarnwyd yr Ysgoloriaeth Artist Ifanc i The Young Artist Scholarship is awarded to gasgliad CGGC i’w drosglwyddo maes o law i CASW collection for subsequent distribution to a Gwenllian Llwyd Gwenllian Llwyd oriel gyhoeddus yng Nghymru. public gallery in Wales. Talgarreg, Llandysul Talgarreg, Llandysul Enillwyr Eisteddfod Genedlaethol Cymru Winners at the National Eisteddfod of Wales Maldwyn a’r Gororau 2015 Montgomeryshire and the Marches 2015 Menna Angharad Felinfach, Aberhonddu Menna Angharad Felinfach, Aberhonddu Jason Chart Davies Blaenau Ffestiniog Jason Chart Davies Blaenau Ffestiniog Dewi Glyn Jones Pontllyfni Dewi Glyn Jones Pontllyfni Sophie Southgate Penarth Sophie Southgate Penarth 28 29 Arddangoswyr Exhibitors

Kelly Best Richard Bevan Memrwm / Vellum Clwb gwyddbwyll / Chess club Jack Burton Gormod / Too much Kelly Best Caerdydd Morag Colquhoun Penpont, Aberhonddu Memrwm / Vellum DAW / NFS Pedair ennyd semenaidd: Pris i’w drafod / Richard Bevan Rhif 1 Mafon / Price on application Llundain Four seminal moments: rf# No.1 Raspberries Gordon Dalton RW2 Pedair ennyd semenaidd: Rhif 2 PID / POA Ymhell o adref / Far from home Herwfilwyr yn dawnsio / Bryony Dalefield Z LP DR BK PL PF ST NN Four seminal moments: Cas-gwent Clwb gwyddbwyll / Chess club No.2 Dancing guerrillas Arddelwau / Effigies DAW / NFS Jack Burton Pedair ennyd semenaidd: PID / POA Gordon Dalton Llundain Rhif 3 Glaswellt o’r Andes / Caerdydd Coeden oren / Orange tree £700 Tania Coates Four seminal moments: Tir prysg / Scrubland No.3 Andes mountain grass Ta ta £1,000 Seinydd gitâr (wedi torri) / £700 Guitar speaker (broken) Pedair ennyd semenaidd: PID / POA Tanfor / Submarine £1,000 Rhif 4 Gwragedd Fela / Siart lliw / Colour chart £700 Ymhell o adref / Far from home £1,000 Four seminal moments: Gwesty / Hotel £700 No.4 Felas’s wives Nofio gyda’r nos / Night swimming £1,000

Gormod / Too much £700 Pedair marwolaeth fach: PID / POA Sasgwats / Sasquatch £1,200 Rhif 1 (16 Ebrill 2009) Mae’r llyn wedi rhewi / The lake has frozen £700 Hotel Las Americas Fel pe bai’n ymddangos o unlle/ £700 Four small deaths: As if from nowhere No. 1 (16 April 2009) Chalet £700 Hotel Las Americas

Tania Coates Pedair marwolaeth fach: PID / POA Pencraig, Llanandras Rhif 4 (31 Rhagfyr 2010) Carlos Arguedas Mora Tir comin / Common land £1,050 Four small deaths: Tir prysg / Scrubland £1,050 Morag Colquhoun No. 4 (31 December 2010) Pedair ennyd semenaidd: Rhif 2 / Simon Gaiger Carlos Arguedas Mora Llosgi dan reolaeth / Controlled burning £1,050 Four seminal moments: No. 2 Bwrdd isel onnen losg / Scorched ash low table 30 31 Arddangoswyr Exhibitors

Paul Emmanuel Paentiad cnu am yn ôl, llorweddol oren / Backward fleece painting, orange horizontal Robert Davies Hwrdd / Ram Paul Emmanuel Abercraf

Paentiad cnu am yn ôl, grid gwyrdd / £1,100 Backward fleece painting, green grid

Paentiad grid oren / £1,500 Orange grid painting

Paentiad cnu am yn ôl, grid du / £1,500 Backward fleece painting, black grid

Paentiad gwyrdd fertigol am yn ôl / £1,700 Green vertical backward painting

Paentiad cnu am yn ôl, llorweddol oren / £1,800 Backward fleece painting, orange horizontal

Bryony Dalefield Simon Fenoulhet Arddelw / Effigy Caerdydd Robert Davies Danddaear / Underground £196 yr un / each Tre Taliesin Danddaear / Underground £196 yr un / each Hwrdd / Ram £7,000 Simon Gaiger Mamog / Ewe £7,000 Llanybydder

Bwrdd isel onnen losg / £4,100 Simon Fenoulhet Scorched ash low table Danddaear / Underground 32 33 Arddangoswyr Exhibitors

Bob Gelsthorpe Naid / Leap Bob Gelsthorpe Jin Eui Kim Caerdydd Gwrthdroad III / Inversion III Kate Haywood Naid / Leap DAW / NFS Caerdydd Annie Grove-White Pommel £500 Caerdydd Volta £1,200 Lleisiau o’r tir I Mark Houghton Lleisiau o’r tir II Y Gelli Gandryll Lleisiau o’r tir III Dawnsiwn / Let’s dance £2,300

Llipa / Droopy £2,800

Jin Eui Kim Caerdydd

Gwrthdroad III / Inversion III £4,000

Lisa Krigel Caerdydd

Deunaw llawr / Eighteen storeys £225 - £650 Mark Houghton Dawnsiwn / Let’s dance Lisa Krigel Deunaw llawr / Eighteen storeys Richard Lloyd Lewis Bournemouth

Digwyddiad 01 / Event 01 £250

Digwyddiad 02 / Event 02 £250

Digwyddiad 03 / Event 03 £250

Digwyddiad 04 / Event 04 £250

Digwyddiad 05 / Event 05 £250 Kate Haywood Annie Grove-White Neil McNally Pommel Lleisiau o’r tir (delwedd lonydd / still image) Bys drwg / Bad finger Digwyddiad 06 / Event 06 £250 34 35 Arddangoswyr Exhibitors

Susan Phillips Di-deitl Rhif 9 / Untitled No. 9 Susan Phillips Brulhai, Whitney on Wye

Di-deitl Rhif 7 / Untitled No. 7 £600 James Moore Byd Dau (delwedd lonydd) / World Two (still image) Di-deitl Rhif 9 / Untitled No. 9 £600

Neil McNally Liam O'Connor Di-deitl Rhif 10 / Untitled No.10 £600 Pont-y-p wˆ l Caerdydd Di-deitl Rhif 11 / Untitled No.11 £600 Marwolaeth fy nhadcu £1,800 Lara £400 (ganed Trimsaran 1922 – Di-deitl Rhif 12 / Untitled No.12 £600 Eira £900 Liam O'Connor bu farw Pont-y-p wˆ l 2013) / Dan Rhif 44 / No. 44 £2,200 Death of my grandfather Dan £900 (born Trimsaran 1922 – died Pontypool 2013)

Bys drwg / Bad finger £2,500

Allen Ginsberg ar y Twmpa / £2,600 Allen Ginsberg on Lord Hereford’s Knob

Gwerthu tâp Sherlock Holmes £2,700 i’r beirniad celf Brian Sewell yn Waterstones, Y Fenni, 2007 / Selling a Sherlock Holmes tape to the art critic Brian Sewell inWaterstones, Abergavenny, 2007

Dymchwel murlun y Siartwyr gan £4,900 Gyngor Llafur Casnewydd ar Hydref 3ydd, 2013 / Demolition of the Chartist mural by the Labour- run Newport Council on October 3rd, 2013

James Moore Caerdydd

Byd Dau / World Two £400 Richard Lloyd Lewis Guy Pitt Cyhoeddiad o 10 / Edition of 10 Digwyddiad 03 / Event 03 Gweithio / Working 37 Y Fedal Aur am Bensaernïaeth 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 André Stitt 2013 a 2016 ac a gymeradwywyd i'r Eisteddfod c. cwblhawyd rhwng 2013 a 2016 Gosodwaith wal bwrdeistrefol mewn ardal breswyl mewn bydysawd cyfochrog (manylyn) / fel y rhai o’r teilyngdod uchaf. Municipal wall installation in a residential complex in a parallel universe (detail) ch. yn cyfoethogi'r amgylchedd Guy Pitt Beth Elen Roberts Detholwyr Detholwyr Y Barri Llundain Alan Francis, Jonathan Vining Alan Francis, Jonathan Vining Morlin / Coastline £180 Tudalennau 102 - 105 / £140 - £840 Dyfarnwyd y wobr ganlynol: ATAL Y WOBR Echni / Steep Holm £180 Pages 102 – 105 Hall + Bednarczyk Y Fedal Aur am Bensaernïaeth Gweithio / Working £180 André Stitt Caerdydd Atgof / Memory £220 ENILLYDD Gosodwaith wal bwrdeistrefol £25,000 Hall + Bednarczyk Cas-gwent mewn ardal breswyl mewn Canolfan Ymwelwyr a Chwaraeon D wˆ r bydysawd cyfochrog / Llandegfedd, Pont-y-p wˆ l Municipal wall installation in a residential complex in a parallel universe

Tom Pitt Sied/Pen / Shed/Head Tom Pitt Y Barri Hunan ddwbl / Double self £180 Ynys ag aeliau (Echni) / £180 Island with eyebrows (Steep Holm) Sied/Pen / Shed/Head £180 s i r r o

Cwt Nissen / Nissen hut £180 M

s e

Cwt Nissen / Nissen hut £180 m a

Beth Elen Roberts J Cwt Nissen / Nissen hut £180 Tudalennau 102 - 105 / Pages 102 – 105 Canolfan Ymwelwyr a Chwaraeon D wˆ r Llandegfedd, Pont-y-p wˆ l 38 39 Y Fedal Aur am Bensaernïaeth Pensaernïaeth The Gold Medal for Architecture Architecture

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 2013 date of completion was in the period 2013 to (supported by the Design Commission for Wales) a 2016 yn gynwysedig. 2016 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 of The sliver-gilt replica of the gold medal is given, The aim of this award is to encourage entries Penseiri yng Nghymru. 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 Alan Francis, Jonathan Vining Alan Francis, Jonathan Vinings 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: Architype Henffordd Architype Hereford Ysgol Gynradd Gymunedol Porth Tywyn Burry Port Community Primary School design standards. The award is given to the a. constructed in Wales architect or architects responsible for the BDP. Llundain BDP. London b. final account did not exceed £750,000 building or group of buildings, completed Coleg Caerdydd a’r Fro, Caerdydd Cardiff & Vale College, Cardiff between 2013 and 2016 and recommended to c. completed between 2013 and 2016 Donald Insall Associates Conwy Donald Insall Associates Conwy the Eisteddfod as being of greatest merit. d. enhances the environment Pafiliwn Mynedfa Castell Caernarfon Entrance Pavilion, Caernarfon Castle

Selectors Grimshaw Llundain Grimshaw London Selectors Alan Francis, Jonathan Vining Pontio, Canolfan Celfyddydau ac Arloesi, Pontio, Arts and Innovation Centre, Alan Francis, Jonathan Vining Bangor Bangor The following prize was awarded: AWARD WITHHELD Hall + Bednarczyk The Gold Medal Hall + Bednarczyk Cas-gwent Hall + Bednarczyk Chepstow for Architecture Canolfan Ymwelwyr a Chwaraeon D wˆ r Llandegfedd Visitor & Watersports Centre, Llandegfedd, Pont-y-p wˆ l Pontypool WINNER Hall + Bednarczyk Cas-gwent Hall + Bednarczyk Chepstow Hall + Bednarczyk Chepstow The Chickenshed, Trefynwy The Chickenshed, Monmouth Llandegfedd Visitor & Watersports Centre, Pontypool Purcell Caerdydd Purcell Cardiff Castell Aberteifi Cardigan Castle

Comisiynwyd y ffotograffydd James Morris a’r Photographers James Morris and poet Elis bardd Elis Dafydd i ymweld â’r adeiladau a Dafydd were commissioned to visit and respond rhestrwyd. Eu hymateb sy’n ffurfio’r Arddangosfa to the buildings listed. Their response forms the Bensaernïaeth yn Y Lle Celf. Architecture Exhibition in Y Lle Celf. s i r r o M s e m a J Llandegfedd Visitor & Watersports Centre, Pontypool 40 41 Pensaernïaeth Architecture s s i i r r r r o o M M

s s e e m m a a J J Canolfan Ymwelwyr a Chwaraeon D wˆ r Llandegfedd, Pont-y-p wˆ l / Llandegfedd Visitor & Watersports Centre, Pontypool Ysgol Gynradd Gymunedol Porth Tywyn / Burry Port Community Primary School s s i i r r r r o o M M

s s e e m m a a J J Canolfan Ymwelwyr a Chwaraeon D wˆ r Llandegfedd, Pont-y-p wˆ l / Llandegfedd Visitor & Watersports Centre, Pontypool Ysgol Gynradd Gymunedol Porth Tywyn / Burry Port Community Primary School 42 43 Pensaernïaeth Architecture s i r r o M

s e P P m D D a B B J Coleg Caerdydd a’r Fro, Caerdydd / Cardiff & Vale College, Cardiff Pafiliwn Mynedfa Castell Caernarfon / Entrance Pavilion, Caernarfon Castle l l l l a a h h s s r r a a M M

y y d d P n n D A A B Coleg Caerdydd a’r Fro, Caerdydd / Cardiff & Vale College, Cardiff Pafiliwn Mynedfa Castell Caernarfon / Entrance Pavilion, Caernarfon Castle 44 45 Pensaernïaeth Architecture r i a l c n i S

l e a h c i M The Chickenshed, Trefynwy / The Chickenshed, Monmouth s s i i r r r r o o M M

s s e e m m a a J J Pontio, Canolfan Celfyddydau ac Arloesi, Bangor / Pontio, Arts and Innovation Centre, Bangor Castell Aberteifi / Cardigan Castle 46 47 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement s s s i i i r r r r r r o o o M M M

s s s e e e m m m a a a J J J Coleg Caerdydd a’r Fro, Caerdydd The Chickenshed, Trefynwy Castell Aberteifi

Nid dim ond yn anrhydeddu cof T Alwyn Lloyd arwyddocaol hyn yn uchelgais yn wir, ac fel yn canmol y cleient am gomisiynu dyluniad welir mewn mannau eraill yng Nghymru. Nid (1881-1960) - un o’r cymeriadau mwyaf detholwyr roeddem yn benderfynol y byddai heriol ac nid dim ond caffael rhywbeth a oedd yw’n adeilad sy’n tynnu sylw ond mae ganddo arwyddocaol ym maes pensaernïaeth a teilyngu’r wobr bensaernïol uchaf yng Nghymru yn ticio’r blychau i gyd. Mae’r cymysgedd o ofodau mewnol sydd wedi’u creu’n hyderus a chynllunio trefol yn yr ugeinfed ganrif yng yn galw am ddangos rhagoriaeth dylunio cyson ddibenion sydd i’r adeilad yn rhoi iddo fywyd rhoddir sylw craff i fanylder gan ddefnyddio Nghymru – a wna’r Fedal Aur am yn codi o uchelgais ddeallusol y cysyniad, gwirioneddol ac mae’n amlwg bod myfyrwyr yn palet cyfyngedig o ddeunyddiau: haenau Bensaernïaeth, mae hi hefyd yn cydnabod gwreiddioldeb a dawn yn natblygiad y hoffi bod ynddo. Mae dyluniad penseiri BDP rhychog du, byrddau pren a choncrid wedi’i yn gyhoeddus bwysigrwydd pensaernïaeth dyluniad, arloesedd technegol a chadernid wedi’i ddyfeisio’n dda ac mae’n amlwg gam ar lathru. i ddiwylliant Cymru ac mae’n dathlu gwaith yn y defnydd a’r cyfosod ar ddeunyddiau, y blaen i’r blwch addysg safonol. Mae’r ffurf Mae gorchest cadwraeth adeilad hanesyddol gorau penseiri sy’n ymarfer yn ein gwlad ac ansawdd a safon yn y gwaith adeiladu. allanol yn ddeinamig ac yn cysylltu’n dda i’w gan y pensaer Purcell wedi rhoi bywyd newydd heddiw. leoliad ymyl y ffordd, tra bod y gofod mawr Derbyniwyd un ar bymtheg o geisiadau, oedd i Gastell Aberteifi , a gallai wneud hynny hefyd canolog yn olau, lliwgar ac yn rhoi eglurder - Dyfarnwyd Medal Goffa T Alwyn Lloyd gyntaf efallai ychydig yn siomedig, ond roeddem yn i’r dref gyfan. Mae’r sylw i fanylder wrth adfer ac sy’n arbennig o bwysig o gofio bod gan rai ym 1960 a chaiff llawer o’r prosiectau sydd wedi falch ein bod wedi gallu ystyried cymysgedd addasu’r adeiladau a oedd yn bodoli yn ofodau defnyddwyr anghenion arbennig. Mae’r ffaith ennill y wobr ers hynny eu hystyried erbyn hyn iach o brosiectau da iawn a, diolch byth, nid dehongli, arddangos ac addysgol, swyddfeydd bod ôl defnydd trwm eisoes ar du fewn yr yn rhai oedd ar flaen y gad o ran cyflawniad dim ond cyfres o dai preifat ar gyfer cleientiaid a llety gwyliau yn batrwm i’w ddilyn. Mae’r adeilad yn dangos ei fod yn un â chalon - gofod pensaernïol yng Nghymru yn yr hanner canrif cyfoethog neu nifer o ysgolion safonedig. bwyty newydd, sy’n ymestyn dros adran o fur y gwaith i’r ifanc ydyw wedi’r cyfan. ddiwethaf, er enghraifft: t yˆ yn Llandaf gan Gwnaethom ymweld â phrosiectau o ansawdd castell a ailadeiladwyd, yn wrthbwynt effeithiol Graham Brooks (1968); tai Little Orchard, Dinas uchel ledled Cymru a gomisiynwyd gan Tyˆ haf mewn lleoliad gogoneddus yn Sir Fynwy modern sy’n pontio'n dda i afon Teifi a’r dref. Powys gan T G Jones a J R Evans (1972); tai gleientiaid yn y sector cyhoeddus a’r sector wledig yw The Chickenshed . Oherwydd cyfres Gallai hwn yn hawdd fod yn adeilad Hafan Elan, Llanrug (1982) a Chanolfan preifat, ac ystod eang o fathau adeiladau ac o’u anodd o gyfyngiadau cynllunio mabwysiadodd anymwthiol, syml; felly rhown bob clod i’r tîm Chwaraeon D wˆ r Plas Menai, Llanfair-is-gaer plith rydym wedi dewis saith prosiect ar gyfer yr y cleient a phenseiri Hall + Bednarczyk dylunio a’r cleient, Ymddiriedolaeth Cadwraeth (1985) gan Bartneriaeth Bowen Dann Davies; arddangosfa. gysyniad anarferol - sef ailddefnyddio rhan o Adeiladau Cadwgan, am fabwysiadu dull Y T yˆ Gwydr Mawr, Gardd Fotaneg Genedlaethol ffrâm bren sgubor dofednod adfeiliedig a chreu cyfoes a dewr - er y gallai’r manylwaith fod wedi Mae campws canol y ddinas newydd Coleg Cymru gan Foster a’i Bartneriaid (2000); ac ffurf bensaernïol sy’n ail-ddehongli hunaniaeth bod yn fwy cain. Caerdydd a’r Fro yn brosiect addysg adeilad y Senedd gan Bartneriaeth Richard amaethyddol defnyddioleb yr adeilad uchelgeisiol sydd â’r nod o ddarparu Wedi ei wireddu gan Architype a’r cleient- Rogers (2006). Felly, mae bod yn deilwng o gael blaenorol mewn modd cyfoes. Crëwyd eiddo cyfleusterau dysgu llawn ysbrydoliaeth ar gyfer bensaer Cyngor Sir Gaerfyrddin mae’r cynllun i eich prosiect buddugol wedi’i gysylltu mewn pedair ystafell wely mewn modd llawen sy’n ei unigolion, cymunedau a chyflogwyr - ac rydym greu Ysgol Gynradd Gymunedol Porth Tywyn hanes gyda’r penseiri a’r prosiectau wneud yn wahanol i’r llety gwyliau safonol a 48 49 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement n s s o i i s r r s r r p e o o m n i M M o

S

s s J

e e i h g w m m i e e a a J J L D Ysgol Gynradd Gymunedol Porth Tywyn Pafiliwn Mynedfa Castell Caernarfon Pontio, Canolfan Celfyddydau ac Arloesi, Bangor Canolfan Ymwelwyr a Chwaraeon D wˆ r Llandegfedd, Pont-y-p wˆ l yn cynnwys tair elfen: adeilad ysgol fabanod o’r mae’r pensaer wedi gweithio’n galed i ddyfeisio golau naturiol yn glyfar - ac mae’n wledd i’r 1980au sydd wedi’i ailwampio, adeilad ateb cynnil, tryloyw sy’n sefyll ar ei draed ei hun llygad. Mae adeiladwaith allanol yr adeilad yn wedi’u gorchuddio â chladin pren, ac os blynyddoedd iau newydd ar ffurf linellog i safon ar gyfer gwella mynediad a gwerthu tocynnau - feiddgar, wedi’i weithio’n hardd a’i drefnu’n dda archwilir ef yn fanwl gwelir safon uchel y Passivhaus; a neuadd aml-ddefnydd ar gynllun a gyda chryn hyfedredd mewn gwau stori gan ddangos parch i’r adeilad rhestredig drwy manylder a’r crefftwaith. O’r holl brosiectau y eliptigol ac a adeiladwyd gan ddefnyddio dull ddiddorol i mewn i’r gwaith. Ar yr olwg gyntaf ei ffurf a’i berthnasedd. Mae’n anochel, fe gwnaethom ymweld â hwy, hwn yn bensaernïol Brettstapel. Mae’r pensaer, Architype, yn nid yw’n edrych yn fawr o gamp, ond dyna ei dybiwn, bod rhai manylion heb eu datrys a oedd yr un mwyaf cyflawn o’r syniad adnabyddus fel arweinydd ym maes cynllunio gryfder. Mae’n adeilad bach sydd â llawer o hefyd bod gwrthdrawiadau geometrig mewn cychwynnol o leoli dau adeilad ar lan y gronfa adeiladau cynaliadwy ac yn hynny o beth nid wasanaethau ynddo - mae’r gwresogi, y goleuo adeilad mor fawr a chymhleth, ond dylai’r dd wˆr hyd at safon uchel yr adeiladu a yw’n ein siomi. Gallwch bron ag arogli’r pren a’r draenio i gyd wedi’u cuddio’n glyfar - ac drychiad cefn sy’n wynebu stryd fechan hyfryd gyflawnwyd drwy ddefnyddio dull caffael llarwydd Cymreig wrth iddo lwydo’n araf, ac mae’n amlwg bod pawb wedi gweithio’n galed fod wedi’i drin yn fwy sensitif ac mae’r ganolfan traddodiadol. mae’r manylwaith wedi ei wneud â hyder i wneud yn si wˆr bod y canlyniad terfynol yn gul, ynni - sydd ar ffrynt y safle ac sydd i’w gweld yn Mae’r Plac Teilyngdod yn ategol i’r Fedal Aur practis sydd wedi ymchwilio’r cynnyrch yn cain ac yn ategu ei gyd-destun Safle glir mewn golygfa bwysig wrth edrych i fyny o am Bensaernïaeth ac mae wedi’i dyfarnu ers fforensig. Mae’r neuadd eliptigol yn ofod hardd Treftadaeth Byd. Ffordd Deiniol – yn haeddu triniaeth fwy addas. 1990 i brosiectau eithriadol llai. Eleni teimlwyd sydd, gyda’i golofnres amgylchynnol yn Mae Pontio - canolfan y celfyddydau ac arloesi Mae Canolfan Ymwelwyr a Chwaraeon D wˆr gennym nad oedd unrhyw un o’r ymgeiswyr am cysylltu’r adeilad gwreiddiol â’r adeilad newydd Prifysgol Bangor - yn brosiect cymhleth Llandegfedd gan benseiri Hall + Bednarczyk y wobr hon o safon ddigonol i deilyngu ei blynyddoedd iau newydd, yn creu gwir galon ac uchelgeisiol mewn cyd-destun heriol wedi trawsnewid mynediad y cyhoedd i safle dyfarnu iddynt. Fodd bynnag, roeddem yn i’r adeilad. Yn anffodus, gwnaed y gwaith gan eithriadol: safle ymyl clogwyn wedi ei ffryntio cronfa dd wˆr D wˆr Cymru a’u mwynhad ohoni. ystyried bod gwaith penseiri Hall + Bednarczyk ddefnyddio dull adeiladu o ddyluniad ac felly, gan borthdy tref hanesyddol ar un gornel, Prif nodwedd y fynedfa yw ei tho cladin sinc yng Nghronfa Dd wˆr Llandegfedd yn llawn heb y crefftwyr penigamp wrth y llyw drwy Ffordd Deiniol brysur ar y llall, a’r cyfan yng anghymesur crwm sydd fel petai’n arnofio dros deilyngu Medal Goffa T Alwyn Lloyd. Mae’r gydol yr amser, mae rhai o fanylion y gorffeniad nghysgod prif adeilad rhestredig gradd 1 Henry y caffi ar y llawr cyntaf tra'n adlewyrchu’n adeiladau rhagorol hyn wedi gwreiddio yn eu yn ein siomi. T Hare. Trefnir y cynllun o amgylch gofod mynd ddelweddol y bryniau toreithiog sy’n hamgylchoedd a phrofi eu hunain wrth gael eu Mae’r Pafiliwn Mynedfa newydd yng Nghastell a dod mewnol sy’n codi chwe llawr i gysylltu tref amgylchynu’r gronfa dd wˆr - wedi’i hamlygu’n defnyddio. Disgwyliwn iddynt barhau’n weithiau Caernarfon gan Cadw yn ymyriad modern a dysg, sy’n egluro’r enw Pontio. Mae’r pensaer, hardd o’r llwybr troed sy’n arwain o’r maes pensaernïaeth gwych gydol eu bywyd gweithio gogoneddus gan Gymdeithion Donald Insall Grimshaw, wedi llunio’r llwybr hwn yn eglur parcio. Mae’r caffi ei hun yn agor allan i falconi a’u cydnabod felly gan genedlaethau’r dyfodol. wedi’i leoli mewn safle sensitif heneb restredig gyda mannau i hamddena, golygfeydd o d wˆr cantilifer sy’n rhoi golygfeydd panoramig ar bwysig. Gan nad oedd llawer o gyfle i adeilad Hare, yn ogystal ag awyrgylch a draws y d wˆr. Mae’r ganolfan chwaraeon d wˆr yn Alan Francis, Jonathan Vining ddefnyddio mannau cysylltu nac i gloddio, defnydd gwahanol ar bob llawr a defnyddir fater gwahanol gan fod ei waliau a’i tho serth 50 51 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement s i s i r r r r o o M

M

s s e e m P m a D a J B J Llandegfedd Visitor & Watersports Centre, Pontypool Cardiff & Vale College, Cardiff The Chickenshed, Monmouth

The Gold Medal for Architecture not only architectural award in Wales would require the for not just procuring something that ticked all elsewhere in Wales. It's a quite self-effacing honours the memory of T Alwyn Lloyd (1881- demonstration of consistent design excellence the boxes. The mixture of uses in the building building but with confidently composed internal 1960) – one of the most significant figures in from the intellectual ambition of the concept, gives it a real vibrancy and it's evident that spaces and a rigorous attention to detail using a twentieth-century architecture and town originality and virtuosity in the development of students like being there. BDP Architects’ design limited palette of materials: black corrugated planning in Wales – but also publicly recognises the design, technical innovation and rigour in is well put together and is clearly a step above sheeting, timber boarding and polished the importance of architecture to the culture of the use and assembly of materials, and quality the standard educational box. The external form concrete. is dynamic and relates well to its roadside Wales and celebrates the best work of architects in the execution of the construction. A tour-de-force of historic building conservation practising in our nation today. setting while the large central space is light, Sixteen entries were received, which was by architect Purcell has given Cardigan Castle colourful and provides legibility – especially The T Alwyn Lloyd Memorial Medal was first perhaps a little disappointing, but we were a new lease of life, and may also do so for the important given that some users have special awarded in 1960 and many projects that have pleased that we were able to consider a town as a whole. The attention to detail in the needs. The fact that the building is already a bit won the prize since then are regarded now as genuinely healthy mix of very good projects restoration and conversion of the existing knocked about internally only helps its case as a being in the vanguard of architectural and, thankfully, not just a string of private buildings for interpretation, exhibition and building with a heart – this is a workspace for achievement in Wales in the last half century, houses for wealthy clients or a succession of education spaces, offices and holiday lets is the young after all. for example: house in Llandaf by Graham standardised schools. We visited high-quality exemplary. The new restaurant, which oversails Brooks (1968); Little Orchard housing, Dinas projects across the whole of Wales The Chickenshed is a holiday home in a a section of rebuilt castle wall, is an effective, Powys by T G Jones and J R Evans (1972); Hafan commissioned by both public- and private- beautiful location in rural Monmouthshire. modern counterpoint that announces itself well Elan housing, Llanrug (1982) and Plas Menai sector clients, and a wide range of building A difficult set of planning constraints led the to the River Teifi and the town. This could so Watersports Centre, Llanfair-is-gaer (1985) by types, from which we have chosen seven client and Hall + Bednarczyk Architects to adopt easily have been a watered-down, shy new Bowen Dann Davies Partnership; The Great projects for the exhibition. an unusual concept – reusing part of the timber building, so it's full marks to the design team Glasshouse, National Botanic Garden of Wales frame of a derelict poultry barn and creating and the client, Cadwgan Building Preservation The new city centre campus of Cardiff & Vale by Foster and Partners (2000); and The Senedd an architectural form that reinterprets the Trust, for adopting a bold, contemporary College is an ambitious education project by Richard Rogers Partnership (2006). So, to be utilitarian, agricultural identity of the former approach – although it could have been more aimed at providing inspirational learning worthy of having one’s winning project linked building in a contemporary manner. A four- exquisitely detailed. facilities for individuals, communities and in history with these significant architects and bedroom property has been crafted in a joyous employers – and we applaud the client for Conceived by Architype and architect-client projects is ambition indeed and, as judges, we way that sets it apart from the standard of commissioning a design with an edge and Carmarthenshire County Council, the scheme to were resolved that to merit the highest holiday accommodation that can be found 52 53 Datganiad y Detholwyr Pensaernïaeth Architecture Selectors’ Statement s s s s i i i i r r r r r r r r o o o o M M M M

s s s s e e e e m m m m a a a a J J J J Cardigan Castle Burry Port Community Primary School Entrance Pavilion, Caernarfon Castle Pontio Arts and Innovation Centre, Bangor

create Burry Port Community Primary School minimal, freestanding and transparent solution form is bold, beautifully engineered and well roof are clad in timber, close inspection of which comprises three elements: an infant school to improving access and ticketing – and with no mannered, deferring to the listed building reveals a high standard of detailing and building from the 1980s that was refurbished; little skill in weaving an interesting narrative into through its form and materiality. It is inevitable, craftsmanship. Of all the projects we visited, this a new linear-form junior years’ building to the result. At first glance there's not a lot to it, but we suppose, that in a building of such size and was the most fully resolved architecturally from Passivhaus standard; and an elliptical-plan, that's its strength. It's a heavily serviced little complexity there are some unresolved details the initial idea of siting two buildings on the Brettstapel-constructed, multi-use hall. The building too – heating, lighting and drainage and clashes of geometry, but the rear elevation shore of the reservoir through to the high architect, Architype, is renowned as a leader in are all ingeniously concealed – and everyone facing on to a charming little street should have standard of construction that was achieved the design of sustainable buildings and on that has evidently worked hard to make sure that been handled more sensitively and the energy using a traditional method of procurement. front it doesn't disappoint. You can almost smell the final outcome is slender, elegant and centre – perched at the front of the site and The Plaque of Merit is complementary to the the Welsh larch as it gently greys away, and the complementary to its World Heritage Site sitting squarely in a key view of the building Architecture Gold Medal and has been awarded detailing is carried out with the confidence of a context. looking up from Deiniol Road – deserved a more since 1990 to outstanding smaller projects. This practice that has researched the product fitting treatment. Pontio – Bangor University’s new arts and year we felt that none of the contenders for this forensically. The elliptical hall is a beautiful innovation centre – is a complex and ambitious The Llandegfedd Visitor & Watersports Centre prize was of sufficient quality to merit its award. space that, with its surrounding colonnade project in a hugely challenging context: a cliff- by Hall + Bednarczyk Architects have However, we considered that the work of Hall + linking the original building with the new junior edge of a site fronted by the historic town transformed the public’s access to and Bednarczyk Architects at Llandegfedd Reservoir years’ building, creates a real heart for the gatehouse on one corner, the busy Deiniol Road enjoyment of D wˆ r Cymru Welsh Water’s reservoir was fully deserving of winning the T Alwyn Lloyd school. Regrettably, the delivery was through on the other, and all overlooked by Henry T site. The former is primarily about its Memorial Medal. These exceptional buildings a design-build route and consequently, without Hare’s grade I-listed main building. The design asymmetrically-curved, zinc-clad roof that have settled into their surroundings and proved the master craftsmen at the helm throughout, is organised around an internal circulation appears to float over the first floor café while themselves in use. We expect them to remain some finishing details disappoint. space that climbs six storeys to link ‘town’ with poetically mirroring the rolling hills that enclose fine works of architecture throughout their Cadw’s new Entrance Pavilion at Caernarfon ‘gown’, hence the name Pontio. The architect, the reservoir – beautifully highlighted on the working life, and to be recognized as such by Castle is a delightful, modern intervention by Grimshaw, has fashioned this route legibly, with pedestrian approach down from the car park. future generations. Donald Insall Associates in the sensitive setting places to dwell, views of the tower of Hare’s The café itself opens on to a cantilevered of an important scheduled monument. Faced building, a different atmosphere and use at balcony that provides panoramic views across Alan Francis, Jonathan Vining with little scope for fixings or excavation, the each level, and clever use of natural light – and the water. The watersports centre is a somewhat architect has worked hard to engineer a it’s visually enthralling. The building’s external different proposition in that its walls and pitched 54 55 Ysgoloriaeth Bensaernïaeth

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: Trevor Skempton, Jacqui Walmsley Dyfernir yr Ysgoloriaeth Bensaernïaeth i Efa Lois Thomas Aberystwyth

Wrth ystyried ceisiadau ar gyfer yr ysgoloriaeth, Waters ar gyfer ei syniad ‘Technoleg Dinas mae’n rhaid cadw mewn cof nifer o elfennau Algâu’ diddorol o fewn y gofod sydd heb ei amrywiol. Mae ymgeiswyr ar wahanol gamau ddatblygu’n llwyr rhwng Canol Dinas Caerdydd yn eu cyrsiau, mae rhai’n arddangos gwaith a’r Bae. graffeg rhagorol, rhai’n arddangos agwedd Cynigiodd Connor Waters hefyd i ddwyn ei soffistigedig ar gyfer atebion pensaernïol, eraill brofiad o ymglymiad cymunedol o weithio yn yn cofleidio rhaglen gymdeithasol flaengar, El Poblenou, Barcelona, i brosiect ‘pop-up’ tebyg bydd gan rai weledigaeth ar gyfer dyfodol yng Nghaerdydd. Ynghyd â sawl ymgeisydd Pensaernïaeth yng Nghymru ac mae rhai’n Efa Lois Thomas arall, dangosodd fantais profiad uniongyrchol rhan o brosiectau cymunedol. Weithiau, ceir Canolfan Ddiwylliannol Gymreig, Lerpwl o raglenni cymdeithasol. un syniad cymhellol. adeiladau h yˆn, a all wneud cyfraniad ddefnyddio concrit a metel. Credaf fod gwneud Dangosodd Yasmin Eva ddatblygiad cyson hollbwysig i’n hangen am deimlad o barhad hyn yn ffordd o ddathlu ein diwylliant mewn Roedd sgiliau graffeg rhagorol yn y portffolios syniadau ac ymwybyddiaeth ofodol, yn a chof cyfunol. modd gwahanol a modern arall ynghyd â bod a gyflwynwyd gan Daniel Krajnik a William enwedig ei ffurfiadu hyderus o leoedd mewnol yn fodd i gyflwyno hen syniadau a Thomas. Fel llynedd, ceir tystiolaeth sydd i’w Mae Efa Lois Thomas yn ifanc ac yn dal yn cyflawn o wahanol faint, o’i gwaith ymarferol yn thraddodiadau mewn ffurf newydd. Byddai chroesawu o adfywiad lluniadu â llaw fel rhan fyfyriwr gradd. Aeth i’r afael â mater cyndyn ac adeiladu strwythurau dros dro i’w chynnig lledu’r defnydd o batrymau carthenni Cymreig hanfodol o ddelweddu a chyfathrebu weithiau lletchwith yr alltudiaeth Gymreig yn trawiadol ar gyfer amlosgfa. traddodiadol mewn deunyddiau gwahanol yn pensaernïol. Lerpwl, gyda’i chynnig am Ganolfan ffordd i dynnu sylw at arbenigrwydd diwylliant Roedd cyfuniad o aeddfedrwydd pensaernïol Ddiwylliannol Gymreig mewn adeilad newydd Cynrychiolwyd bywyd trefol newydd blaengar Cymru.” ac ymwybyddiaeth o bosibiliadau deunyddiau yn Maryland Street. Er bod ganddi ddiddordeb dwysedd uchel, defnydd cymysg a adeiladu traddodiadol Gymreig yn amlwg yng mewn cadwraeth a ‘retro-ffitio’ hen adeiladau, Fel rhan o’i chais, cyfeiriodd Efa Lois Thomas at cherddedadwyedd yn argyhoeddiadol ym ngwaith Aneura Philips. Yn yr un modd mae wedi gwrthsefyll y demtasiwn i adfer un o ‘Gadair Ddu’ enwog Eisteddfod Genedlaethol mhortffolios Daniel Krajnik a Gethin Hughes. dangosodd Ryan Gormley broffesiynoldeb gapeli Cymraeg mawr Lerpwl sydd erbyn hyn Penbedw 1917, man geni Saunders Lewis yn Aed i’r afael â materion trefol graddfa fawr amlwg wrth fynd i’r afael â phrosiectau proffil yn segur [mae’r adeilad gwych ar Chatham Wallasey a boddi Capel Celyn ym 1965. eraill gan Elizabeth New yn ei chynigion uchel newydd a’r ailddefnydd dychmygus o Street gyfagos eisoes wedi’i addasu ar gyfer Dewisodd symbolaeth addurniadol o Gymru - trawiadol ar gyfer Porth Casnewydd a Connor Ysgol Rheolaeth Prifysgol Lerpwl, ond mae'r nid un o ddreigiau neu’r Mabinogi - ond ‘Gadeirlan Gymreig’ restredig sydd hyd yn oed dyluniadau cwiltiau a gludwyd gan fudwyr, yn fwy mawreddog ar Princes Boulevard yn yn cynnwys y rhai a hwyliodd ar y ‘Mimosa’ o adfail di-do sy’n aros i gael ei achub]. Lerpwl i Batagonia. Felly dyma, eleni, yw ein un syniad cymhellol - eglurder pensaernïol syml ei Yn ei datganiad dywed: “Rwy’n angerddol gweledigaeth o ganolfan ddiwylliant, gyda yngl yˆn â hanes a chwedlau Cymru, a byddaf symbolaeth berthnasol yn hytrach na dawn neu yn aml yn dylunio pethau sy’n tarddu o’m soffistigeiddrwydd technegol [disgwyliwn i profiadau personol o fod yn Gymraes. Ers i mi hynny ddatblygu’n ddiweddarach]. Ynghyd â ddechrau astudio Pensaernïaeth yn Lerpwl, syniad ar gyfer arddangosfa fechan o rwyf eisoes wedi dylunio nifer o brosiectau gadeiriau seremonïol, wedi’u gosod yng sy’n ymwneud â hanes Cymru a hanes Cymry nghornel sgwâr o gyfnod Sioraidd, Lerpwl, yn ogystal â hanes Iwerddon. Y tymor perswadiwyd ni gan ei chysyniad i ddyfarnu’r diwethaf cefais brofiad diddorol iawn yn ysgoloriaeth eleni iddi hi. Efa Lois Thomas cymhwyso ac addasu patrwm carthen Gymreig Patrwm y garthen draddodiadol yn ffasâd adeilad gan Trevor Skempton, Jacqui Walmsley 56 57 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: Trevor Skempton, Jacqui Walmsley The Architecture Scholarship is awarded to Efa Lois Thomas Aberystwyth

When considering submissions for the award, in El Poblenou, Barcelona, to a comparable there are a number of variables to be taken into ‘pop-up’ project in Cardiff. Along with several of account. Candidates are at different levels in the other applicants, he showed the benefit of their courses, some exhibit superb graphics, hands-on experience of social programmes. some show sophisticated approaches to Yasmin Eva showed a consistent development architectural problem-solving, some embrace of spatial ideas and awareness, particularly her a progressive social programme, some have assured forming of rounded interior enclosures a vision for the future of Architecture in Wales, at different scales, from her hands-on work some are involved in community projects. constructing temporary structures to her Occasionally, there is a single compelling idea. impressive proposal for a crematorium. There were superb graphic skills in the portfolios A combination of architectural maturity and an submitted by Daniel Krajnik and William awareness of the potential of traditional Welsh Thomas. As last year, there is welcome evidence building materials was apparent in the work of of a revival of hand-drawing as an essential Efa Lois Thomas Aneura Philips. Similarly, Ryan Gormley showed Welsh Cultural Centre, Liverpool part of architectural visualisation and evident professionalism in tackling both high- communication. Liverpool’s many large disused Welsh chapels Welsh blanket patterns in different materials profile new projects and the imaginative re-use [the magnificent building on nearby Chatham would be a way to draw attention to the The new progressive urbanism of high density, of older buildings, which can make a vital Street has already been converted for the independence of Welsh culture.” mixed-use and walkability was represented contribution to our need for a sense of continuity University of Liverpool’s Management School, convincingly in the portfolios of Daniel Krajnik and collective memory. As part of her proposal, Efa Lois Thomas made but the even grander listed ‘Welsh Cathedral’ and Gethin Hughes. Other large-scale urban reference to the famous ‘Black Chair’ of the 1917 Efa Lois Thomas is young, still an on Princes Boulevard is a roofless ruin awaiting issues were addressed by Elizabeth New in her National Eisteddfod in Birkenhead, the undergraduate. She has tackled the long- rescue]. impressive proposals for Newport Gateway and birthplace of Saunders Lewis in Wallasey and standing and sometimes awkward issue of the Connor Waters for his intriguing ‘City of Algae In her statement, she writes, “I am passionate the drowning of Capel Celyn in 1965. She has Welsh diaspora in Liverpool, with her proposed Technology’ within the under-developed space about Welsh history and myth, and I often chosen a decorative symbolism of Wales – not of Welsh Cultural Centre in a new building on between Cardiff City Centre and the Bay. design things that are derived from my own dragons or the Mabinogi – but designs of quilts Maryland Street. Although she has an interest in experiences of being Welsh. Since I started that were carried by emigrants, including those Connor Waters also proposed bringing his conservation and ‘retro-fitting’ old buildings, she studying Architecture in Liverpool, I have who sailed to Patagonia from Liverpool on ‘The community involvement experience of working has resisted the temptation of restoring one of already designed several projects that are Mimosa’. So here, this year, is our single involved with Welsh history and the history of compelling idea - the simple architectural the Liverpool Welsh, as well as Irish history. clarity of her vision of a cultural centre, with Last term I had a very interesting experience relevant symbolism rather than technical applying and adjusting a traditional Welsh virtuosity or sophistication [we expect that to blanket pattern into a building façade with the come later]. Together with an idea for a small use of concrete and metal. I believe that doing exhibition of ceremonial chairs, tucked into the this is a way of celebrating our culture in corner of a Georgian square, her concept another different and modern form as well as persuaded us to award her this year’s being a way to present old ideas and traditions scholarship. Efa Lois Thomas in a new way. Broadening the use of traditional Welsh Cultural Centre, Liverpool Trevor Skempton, Jacqui Walmsley 58 59 ‘Drwy fesur y pellter, down adref’

Roedd Is-bwyllgor Celfyddydau Pan oedd ond yn 24 oed enillodd Gweledol Sir Fynwy a’r Cyffiniau 2016 Y Fedal Aur am Gelfyddyd Gain yn yn awyddus i godi ymwybyddiaeth o’r yr Eisteddfod Genedlaethol. Ar ôl llenor a’r beirniad o’r Pandy, Raymond astudio yng ngholeg celf Caerdydd Williams. I’r perwyl comisiynwyd yr a’r Royal College bu’n bennaeth ar hanesydd celf Peter Wakelin i guradu adrannau yn Lerpwl a Choleg Ffiniau: Politechneg Cymru. Mae’n byw ym Mhenarth. Ysbrydolir yr arddangosfa hon gan Border Country , nofel hunangofiannol Daeth John Elwyn, a enillodd Raymond Williams a gyhoeddwyd ym Y Fedal Aur am Gelfyddyd Gain 1960, sy’n portreadu bywydau sy’n Raymond Williams yn Eisteddfod Genedlaethol 1956, o newid yn Y Fenni ffuglennol rhwng y hyd i destunau yn ffermydd, lonydd 1920au a’r 1950au. Roedd y pedwar artist - Joan a chapeli ei blentyndod gwledig ger Baker, Charles Burton, Bert Isaac a John Elwyn - Castellnewydd Emlyn. Fe’i ganed ym 1916 ac yn gyfoedion i Raymond Williams ac fel yntau astudiodd gelf yng Nghaerfyrddin, Bryste a’r Charles Burton wedi portreadu bywyd yn ne Cymru cyn 1960. Coleg Brenhinol cyn dod yn athro yn Ysgol Gelf Di-deitl / Untitled (1948-9) John Elwyn Caer-wynt. Bu farw ym 1997. Yr Wy / The Egg (1952) Y ffin yn nheitl y nofel yw’r un rhwng Cymru a enedigol ei wraig yn Y Fenni a’r tir o amgylch bach ymhlith eu testunau. Roedd gwaith y fenyw Lloegr ond mae’r llyfr yn archwilio pob math o Ganed Bert Isaac ym 1923 a thyfodd i fyny ger Pentre’r Eglwys, lle tyfodd ef i fyny, yn wahanol yn y cartref yn sylfaenol er mwyn i deuluoedd ffiniau a’r cysylltiadau a wneir ar eu traws – Pontypridd. Fe’i cyfareddwyd gan ddychweliad iawn erbyn hyn. dynnu trwyddi ac mae adlais o waith caled rhwng cenedlaethau, dynion a menywod, natur i ofodau a esgeuluswyd. Ar ôl astudio yng Gall llenyddiaeth gyfleu’r gwahaniaethau Ellen, gwraig Harry yn y nofel, i’w ganfod ym gweithwyr a chyflogwyr, y maes glo a’r fro ngholeg celf Caerdydd aeth i Brifysgol Llundain rhwng pobl drwy storïau, ond mae gwneud hyn mhaentiadau Joan Baker. amaethyddol, y dref a’r wlad. Mae’r paentiadau a bu’n addysgu yn y Sefydliad Addysg. yn fwy heriol i artistiaid gweledol. Er hynny, mae hyn yn archwilio’n weledol y ffiniau hynny Ymddeolodd i’r Fenni ac yno bu’n paentio hyd delweddau gan bob un o’r artistiaid hyn yn Pan fo Morgan ffrind Harry yn dechrau gwerthu drigain mlynedd yn ôl. Maent hefyd yn dangos y ddiwedd ei oes yn 2006. caniatáu i’r gwyliwr feddwl am wahaniadau nwyddau groser yn y maes glo, mae’r nofel yn bwlch amser sy’n gwahanu’r cyfnod hwnnw a cyflwyno bywyd nodedig y cymunedau glofaol Yn Border Country mae’r gwahaniaethau rhwng personol a sut maent wedi newid. heddiw. yn ystod y streiciau yn y 1920au ac yn y cyfnod amryw leoliadau lle caiff y stori ei lleoli hyd yn Tra bod nofel yn caniatáu i ddarllenwyr yn dilyn y rhyfel lle caed cyflogau uwch a Wedi’i eni yn Y Pandy, chwe milltir i’r gogledd o’r oed yn fwy arwyddocaol na’r ffin rhwng Cymru a dreiddio i feddyliau ei phrif gymeriadau, mae chyflogaeth lawn. Dyma’r cyfnod y gwnaeth Fenni, caiff Raymond Williams (1921-1988) ei Lloegr. Mae’r cymeriadau yn ymwybodol o delwedd statig yn galw ar y gwyliwr i ddehongli Charles Burton ei baentiadau o’r Rhondda. Hyd gydnabod ledled y byd fel beirniad a hanesydd groesi rhwng amgylchoedd gwahanol iawn bob ac ystyried. Ni all Joan Baker ddiffinio yn hollol yn oed yma, fodd bynnag, croeswyd ffiniau diwylliannol dylanwadol. Mynychodd Ysgol tro y symudant rhwng treflan Glynmawr (wedi ei berthynas y fatriarch sy’n eistedd wrth y tân a’i gwaith diwydiannol a gwaith cefn gwlad yn Ramadeg Y Fenni ac yna Brifysgol Caergrawnt, seilio ar Pandy, man geni Raymond Williams) a merch sydd wrthi’n gwneud gwaith t yˆ, ond mae hawdd ac roedd tai teras, ffermydd a llethrau’r lle y daeth yn Athro Drama. Archwiliodd thref farchnad Gwenton (Y Fenni). Hefyd ei darlun yn ein cymell i ddyfalu. Hi yw’r unig mynyddoedd yn cyd-orwedd. newidiadau cymdeithasol ac economaidd a’u cerddant i fyd diarffordd y ffermydd yn y artist ar yr adeg hon sy’n nodi gwahaniaethau heffaith ar ddiwylliant yn ei weithiau bryniau a chroesi ffin anferth y grib i’r maes glo. hil. Drwy wrthgyferbynnu ei Y Lladron Ieir Roedd gwaith ar y ffermydd yn y cyfnod rhwng y academaidd mawr a nofelau sydd wedi’u lleoli rhyfeloedd fel petai’n croesi i ffordd o fyw oesol a Daliodd pob un o’r artistiaid ragoriaethau’r lladradaidd gyda ffermdy talgryf, mae Bert yn ei fro enedigol. mwy annibynnol a dyna sy’n cael ei gyfleu ym mannau yr oeddent yn eu hadnabod yn dda, Isaac yn ein harwain i ddyfalu a ydynt yn croesi mhaentiadau John Elwyn. Yn aml yn ei atgofion Roedd pob un o’r pedwar artist yn yr mannau sydd wedi newid yn syfrdanol yn y ffiniau dosbarth yn bryfoclyd neu dan reidrwydd am ei ieuenctid yn y 1930au roedd gwaith y arddangosfa hon yn gyfoedion i Raymond trigain mlynedd diwethaf. Fel g wˆ r ifanc yn y i fwydo eu teuluoedd. Gall John Elwyn ein dynion a’r menywod fel ei gilydd yn codi o Williams ac, fel yntau, wedi tyfu fyny yn ne Rhondda paentiodd Charles Burton y tai teras, y hatgoffa am y gwahaniad rhwng y gw yˆr a’r rythmau’r tir. Cymru ac wedi addysgu ym maes addysg uwch. strydoedd trefol a llethrau’r maes glo pan oedd y gwragedd a fynychai’r capel yn ei gyfnod. pyllau’n dal i weithio a chymunedau’n ffynnu. Mae Border Country Raymond Williams a’r Ganed Joan Baker ym 1922 yng Nghaerdydd lle Yn y nofel mae gwaith shifft cyflogedig Harry Rhoddodd canol Caerdydd a’i maestrefi paentiadau hyn yn ein hysbrydoli i gymharu’r mae’n dal i fyw heddiw. Astudiodd yn ysgol gelf Price a’i ofidiau yn ystod y Streic Gyffredinol yn ddeunydd ar gyfer testunau cyfoethog a presennol â rhythmau gwahanol iawn y Caerdydd. Fel dynes ifanc paentiodd yn gwrthgyferbynnu’n drawiadol â’r amser y mae’n thoreithiog i Joan Baker. Mynegodd John Elwyn gorffennol ac i ymgysylltu’n ddychmygus ar benodol bersonoliaethau ei theulu a’i ei dreulio yn gweithio’i ddarn o dir ei hun yn tyfu yn orchestol gymhlethdodau ffermydd, pentrefi draws y ffiniau sy’n ein gwahanu heddiw. Fel y chymuned. Bu’n addysgu yng Nghaerdydd cynnyrch i fwydo’i deulu ac ennill ychydig o a chapeli cystadleuol yn y cyfnod cyn mae’r nofel yn cloi, ‘By measuring the distance, am bron i ddeugain mlynedd a chafodd arian ychwanegol. Roedd y patrwm ysguboriau ffrâm dur, byngalos a we come home.’ ddylanwad mawr ar lawer o artistiaid Cymru. gwahanedig hwn yn gyffredin yn y chynulleidfaoedd yn edwino. Mae’r lleoedd ym blynyddoedd rhwng y ddau ryfel byd wrth i bobl Gwireddwyd Ffiniau gyda chymorth Cyngor Am gyfnod hir bu Charles Burton yn paentio mhaentiadau Bert Isaac wedi eu newid ers ymlafnio i gael dau ben llinyn ynghyd a Celfyddyddau Cymru ac Ymddiriedolaeth Morel. tirweddau’r Rhondda, lle cafodd ei eni ym 1929. hynny gan ailddatblygu - mae corneli tref chanfu’r artistiaid erddi llysiau a thyddynnod 60 61 ‘By measuring the distance, we come home’

The Monmouthshire and District 2016 Visual families. John Elwyn can Arts Sub-committee wished to raise awareness remind us of the segregation of Pandy writer and critic Raymond Williams. of male and female chapel- To this end art historian Peter Wakelin was goers in his day. commissioned to curate Ffiniau: In the novel, Harry Price’s This exhibition is inspired by Border Country , the waged shift-work on the autobiographical novel of 1960 by Raymond railway and his agonies Williams, which follows changing lives around during the General Strike a fictionalised Abergavenny from the 1920s to contrast sharply with the time the 1950s. The four artists – Joan Baker, Charles Bert Isaac he spends toiling over his own Burton, Bert Isaac and John Elwyn – were Y Lladron Ieir / Chicken Steelers (1951) plot of land, getting produce contemporaries of Williams and, like him, college of art and the Royal College he ran to feed his family and earn portrayed life in south Wales before 1960. departments at Liverpool and the Polytechnic extra cash. This divided Joan Baker pattern was common in the The border of the novel’s title is between Wales of Wales. He lives in Penarth. Noson o Wanwyn / Spring Evening (1950) interwar years as people and England but the book explores all kinds of John Elwyn, who won the National Eisteddfod mountainsides of the coalfield when the pits struggled to make ends meet boundaries and the connections made across Gold Medal for Fine Art in 1956, found subjects were still at work and communities were and the artists found vegetable gardens and them – between generations, men and women, in the farms, lanes and chapels of his rural thriving. For Joan Baker, Cardiff’s centre and smallholdings among their subjects. Women’s workers and employers, coalfield and vale, town childhood near Newcastle Emlyn. He was born suburbs offered rich and teeming subject work in the home was fundamental for families and country. These paintings explore visually in 1916 and studied art at Carmarthen, Bristol matter. John Elwyn expressed supremely the to get by and the labour of Harry’s wife Ellen in the nature of those borders sixty years ago. They and the Royal College before teaching at intricacies of long-established farmsteads, the novel is paralleled in paintings by Joan also express the gulf of time that separates then Winchester school of art. He died in 1997. villages and competing chapels in a time before Baker. and now. steel-framed barns, bungalows and declining Bert Isaac was born in 1923 and grew up near When Harry’s friend Morgan begins trading Born at Pandy, six miles north of Abergavenny, congregations. The places in Bert Isaac’s Pontypridd. He was fascinated by nature’s return groceries to the coalfield the novel introduces Raymond Williams (1921-1988) is known paintings have since been changed by to untended spaces. After studying at Cardiff the distinctive life of mining communities, both worldwide as an influential critic and cultural redevelopment – corners of his wife’s home town college of art he went to London University and during the strikes in the 1920s and in the post- historian. he attended Abergavenny Grammar of Abergavenny and land around Church taught at the Institute of Education. He retired to war era of higher wages and full employment, School and then Cambridge University, where Village, where he grew up, look very different Abergavenny, where he painted until his death when Charles Burton made his paintings of the he eventually became Professor of Drama. He now. in 2006. Rhondda. Even here, however, the boundaries examined social and economic changes and Literature can represent the differences between from industrial to rural work were crossed easily their effects on culture in major academic works In Border Country the distinctions between the people through narratives, but this is more and terraced houses, farms and mountainsides and novels set in his homeland. various locations where the story is set are even lay cheek-by-jowl. more significant than the boundary between challenging for visual artists. Nevertheless, All four artists in this exhibition were images by each of these painters allow the Wales and England. The characters are Work on farms in the inter-war period seemed contemporaries of Raymond Williams and, like viewer to reflect on personal divides and how conscious of crossing between very different to cross to a timeless and more independent him, grew up in south Wales and taught in they have changed. environments each time they move between the way of life evoked by John Elwyn’s paintings, higher education. hamlet of Glynmawr (based on Williams’ While a novel can let readers into the thoughts often memories of his youth in the 1930s, where Joan Baker was born in 1922 in Cardiff, where birthplace of Pandy) and the market town of of its protagonists, a static image requires both men’s and women’s work is structured she still lives. She studied at Cardiff school of art. Gwenton (Abergavenny). They also walk up into viewers to interpret and reflect. Joan Baker around the rhythms of the land. As a young woman she painted particularly the the isolated world of the hill farms and cross the cannot define exactly the relationship of an Raymond Williams’ Border Country and these personalities of her family and community. She great boundary of the escarpment to the elderly matriarch sitting by the fire and her paintings inspire us to compare the present with taught at Cardiff for nearly forty years and was coalfield. daughter working at the chores but her painting the very different rhythms of the past and to an important influence on many Welsh artists. prompts us to wonder. She is the only artist at this Each of the painters captured the qualities of engage imaginatively across the borders that time who notes difference of race. By contrasting Charles Burton has long painted the landscapes places they knew intimately, many of which separate us today. As the novel concludes, his furtive Chicken Stealers with an upright of the Rhondda, where he was born in 1929. have changed radically in the past sixty years. ‘By measuring the distance, we come home.’ farmhouse, Bert Isaac leads us to speculate Aged just 24 he won the National Eisteddfod As a young man in the Rhondda, Charles Burton whether they are mischievously striking across Ffiniau is realised with the support of the Arts Gold Medal for Fine Art. After studying at Cardiff painted the terraced houses, urban streets and class boundaries or desperate to feed their Council of Wales and the Morel Trust. 62 63

Dymuna Is-bwyllgor Celfyddydau Gweledol Sir Fynwy a’r Cyffiniau 2016 ddiolch: Panel Sefydlog Celfyddydau Gweledol / Detholwyr Celfyddydau Gweledol / The Monmouthshire and District 2016 Visual Arts Sub-committee wish to thank: Visual Arts Standing Panel Visual Arts Selectors Cadeirydd / Chair Artworks Derbyniwyd y cyfraniadau canlynol: Rachel Conroy Mererid Velios The following contributions were received: Helen Sear Cyngor Tref Y Fenni / £2,000 The Gibbs Trust Luned Aaron Anthony Shapland Abergavenny Town Council Rhys Llwyd Davies Cyngor Sir Fynwy / £500 Gwehyddion Sioni Rhys / Sioni Rhys Detholwyr Pensaernïaeth / Handweavers Aled Wyn Davies Monmouthshire County Council Architecture Selectors Peter Dutton Crefft yn y Bae, Caerdydd / £500 Eglwys Loveday Street, Birmingham / Alan Francis Loveday Street Church, Birmingham Carwyn Evans Craft in the Bay, Cardiff Jonathan Vining Lisa Gwilym £80 Gwobr Cyngor Tref Caerffili / Rhian Hâf Comisiwn Dylunio Cymru / Caerffili Town Council Award Detholwyr Ysgoloriaeth Bensaernïaeth / Ann Fiona Jones Design Commission for Wales Architecture Scholarship Selectors £40 Gwobr Goffa Eluned Williams / Mair Jones Cymdeithas Frenhinol Penseiri yng Nghymru / Eluned Williams Memorial Award Catrin Llwyd Trevor Skempton Royal Society of Architects in Wales £40 Gwobr Goffa Olwen Hughes, Rhymni / Eleri Mills Jacqui Walmsley The Art Shop and Chapel, Olwen Hughes, Rhymney, Memorial Award Sian Owen Dylunydd yr Arddangosfa / Y Fenni / Abergavenny Ffion Rhys £10 Gwobr Thomas Daniel Varney, Trefdraeth / Exhibition Designer Wil Rowlands Thomas Daniel Varney, Newport, Award Sean Harris Llenyddiaeth Cymru / Literature Wales Jamie Yeoman

Curadur Ffiniau / Ffiniau Curator Joan Baker Swyddog Celfyddydau Gweledol / Visual Arts Officer Peter Wakelin Charles a Rosemary Burton Robyn Tomos Jonathan Burton Cynorthwy-ydd / Assistant Is-bwyllgor Celfyddydau Gweledol / Morwenna a Hywel Ceri Jones Sera Wyn Walker Visual Arts Sub-committee Frances a Nicolas McDowall

Cadeirydd / Chair Bardd / Bard Ceri Thomas Patrick Hannay Aneirin Karadog Peter Wakelin a Clive Hicks-Jenkins Is-gadeirydd / Vice-chair Amgueddfa Brycheiniog / Brecknock Museum Bardd Pensaernïaeth / Architecture Bard William Gibbs Llyfrgell Genedlaethol Gymru / Ysgrifenyddion / Secretaries Elis Dafydd National Library of Wales Rosemary Godfrey-Davies Prifysgol De Cymru / University of South Wales Dylunio’r catalog / Catalogue design Stuart Neale Ysgol Gelf Prifysgol Aberystwyth / Peter Marks Toril Brancher School of Art, Aberystwyth University Peter Ellis Oliver Fairclough Charles Fountain Pete Goodridge David Haswell Frank Olding Rachael Roberts Cefnogwyd gan grant oddi wrth Gyngor Celfyddydau Cymru Andreas Rüthi Supported by a grant from Arts Council of Wales Alex Yorke mewn partneriaeth â Chyngor Celfyddydau Cymru in partnership with Arts Council of Wales