contemporary art society for cymdeithas celfyddyd gyfoes cymru

Charity No: 247947

OFFICERS OF THE SOCIETY AT 31st DECEMBER 2009 Patron The Right Honourable The Earl of Snowdon

President Professor Bryan Hibbard

Vice Presidents Mr Ken Spurlock MBE Mr Hugh Jones Mrs J M Rees-Mathews

Chairperson Mr D Gareth Davies Vice Chairperson Mr Bernard H Rees

Treasurer 1 Mr Peter Clee Events Secretary Dr Christine Evans

Membership Secretary Mr Bernard H Rees Yr Hen Sgubor, Flemingston CF62 4QJ Tel: 01446 751253 Email: [email protected] Secretary Jean A Williams Hafod-Y-Dail, 19 Woodland Park, Ynystawe, Swansea SA6 5AR Tel: 01792 844483 Email: [email protected] Assistant Secretary Nesta James Llwyncelyn, 14 Grove Road, Pontardawe SA8 4HH Tel: 01792 863884 Email: [email protected] Executive Committee Professor Tony Curtis, Dr Dan Evans, Mr William Gibbs, Dr Sandra Harding, Professor Tom Hayes, Ms Dilys Jackson, Dr Tudor Jones, Mrs Madge O’Keeffe, Dr Anne Price-Owen, Mr Alan Spiller, Dr Peter Wakelin, Mrs Jean Walcot, Ms Audrey Walker MBE Auditors KTS Owens Thomas Limited (Chartered Accountants) †† Professor Peter Walcot and MBE (Former Vice-President) Long-standing members and executive members of the Society died during the year.

Produced by Platform One, Monmouth 01600 714600 Geoffrey Dashwood

RYDER CUP EXHIBITION featuring Fred Cuming, RA & Geoffrey Dashwood Jacqueline Orr, Judith Bridgland & Judy Buxton

23rd September- 29th October 2010

The Exhibition will be running in tandem between The Celtic Manor and the Whitebrook Gallery

DENISE YAPP | CONTEMPORARY ART Mill House, Whitebrook, Monmouth NP25 4TX 01600 860950 also at The Celtic Manor Resort, Newport 01633 410488 www.deniseyapp.com Email: [email protected] ANNUAL REPORT 2009 CHAIR CHAT

This report, together with the information on page 1 and the Much of my formal report is most adequately ‘fleshed out’ in Statement of Financial Activities (pages 6&7), reflects the Charity the Society’s Newsletter for 2009, where the contribution of Commission’s Statement of Recommended Practice (SORP). The individuals can be readily appreciated. Our Secretary, Jean Williams, Society’s governance continues to uphold these requirements in the ensures comprehensive content, keeping you well informed of our furtherance of its Constitutional Objects (page 6). activities. Consequently, I confine my comments. In addition to quarterly Executive Committee meetings, working parties continue to be used to progress policy initiatives. They are Firstly, I make no apologies for repeating my previous observations composed of the officers (ex officio), supported by Committee on the Society’s finances. We are in troubled times from which not members with particular interests in the areas under discussion. The even cultural life is immune. Despite all our endeavours it may not President serves as a full member, by invitation. The working parties be possible for CASW to continue to provide the range of activities prepare detailed advice for consideration by the full Executive. which you have become used to and which are valued both inside The year’s more important activities/decisions were: and outside the Society. We are constantly reviewing these and it • Review of financial position (on-going). is very likely we shall need to scale them down in a controlled • Review of selection procedure for annual buyer (on-going). manner. Doubtless, better times will come! • Review of promotional activity. • Review of Venice Biennale participation. In the Newsletter I paid tribute, on your behalf, to the late Arthur • Review of collection, storage and management including Giardelli and the late Prof. Peter Walcot. Whilst I do not intend acquisition and distribution policies. repeating my remarks I feel it proper that the Society should record • Financial assistance to International Cast Iron Sculpture their passing in the more permanent format of its Annual Report. Conference – Sculpture Cymru (scheduled to take place in CASW is indebted to them for their various services over many 2010). years: they are much missed. • Financial assistance to the Welsh pavilion, Venice Biennale (through ACW). We are also grateful to outside bodies for their support, particularly • Financial assistance to Chapter Arts Centre re-opening to University (School of Architecture) for lecture facilities, exhibition programme. National Museum Wales/Amgueddfa Cymru for meeting rooms • Production of Making an Impression, CASW travelling and Pete Goodridge for collection transport and storage. 3 exhibition. • Agreement with Y Tabernacl, Machynlleth to hold 2011 Distribution Exhibition. • Election of Peggy Rees-Mathews and Hugh Jones as Vice Presidents. • Appointment of Dr. Chris Evans (Events Secretary) as buyer for 2010. • Another hugely successful lecture/study visit programme.

2009 has been another year of achievement for CASW and of busy activity for the Executive. We trust we have secured your confidence in our management of the Society and thank you for your continued support.

D.Gareth Davies CASW Chair Celebrating in the Cotswolds

Gwyn Roberts Crib Goch and Snowdon Oil on Canvas 35 x 35 inches

Please contact the gallery for further details

www.fossegallery.com Fosse Gallery Fine Art The Manor House The Square Stow-on-the-Wold Cheltenham Gloucestershire, GL54 1AF 01451 831319 [email protected]

3 th anniversary year 4

fosse advert CASW.indd 1 28/5/10 14:53:08

Summer Group Exhibition

22th July to 18th September

New Work from all the Last Shift at the Avon VI, charcoal, David Carpanini Gallery’s artists.

Attic Gallery 37 Pocketts Wharf Maritime Quarter Swansea SA1 1RG tel 01792 653387 www.atticgallery.co.uk open Tues - Sat 5 CONTEMPORARY ART SOCIETY FOR WALES

STATEMENT OF FINANCIAL ACTIVITIES (Incorporating an income and expenditure account) for the year ended 31 December 2009

2009 Unrestricted 2008 Total funds as INDEPENDENT funds restated EXAMINER’S REPORT Notes £ £ TO THE TRUSTEES OF CONTEMPORARY ART INCOMING RESOURCES SOCIETY FOR WALES

Incoming resources from generated funds I report on the accounts of the Voluntary Income 10,939 12,747 Trust for the year ended 31 December 2009, which are set Activities for generating funds 2 4,165 19,140 out on pages 6 and 7. Respective responsibilities of trustees and Investment income 3 727 3,098 independent examiner. Incoming resources from charitable activities As the charity’s trustees you are responsible for the preparation of Educational activities 14,138 18,773 the accounts. You consider that an audit is not required for this year Other incoming resources 1,301 1,410 under section 43(2) of the Charities Total incoming resources 31,270 55,168 Act 1993 (the Act) and that an independent examination is needed. RESOURCES EXPENDED It is my responsibility to examine the accounts (under section 43 of Charitable activities the Act), to follow procedures laid Charitable Expenditure 38,676 48,911 down in the General Directions given by the Charity Commission Administration expenditure 17,180 24,145 (under section 43(7) (b) of the Act) and to state whether particular Governance Costs 4 650 700 matters have come to my attention. Total resources expended 56,506 73,756 Basis of independent examiner’s statement NET INCOMING/(OUTGOING) RESOURCES (25,236) (18,588) My examination was carried out in accordance with the General RECONCILIATION OF FUNDS Directions given by the Charity Total funds brought forward 60,090 78,678 Commissioners. An examination includes a review of the accounting TOTAL FUNDS CARRIED FORWARD 38,854 60,090 records kept by the charity and a comparison of the accounts CONTINUING OPERATIONS - All incoming resources and resources expended arise from continuing activities presented with those records. It 6 also includes consideration of any 2009 Unrestricted 2008 Total funds as unusual items or disclosures in the BALANCE SHEET as at 31st December 2008 funds restated accounts, and seeking explanations £ £ from you as trustees concerning such matters. The procedures FIXED ASSETS undertaken do not provide all the evidence that would be required Tangible assets 7 1 403 in an audit, and consequently I do CURRENT ASSETS not express an audit opinion on the view given by the accounts. Debtors 8 2,842 5,918 Independent examiner’s statement Cash at bank 53,739 54,470 In connection with my 56,581 60,388 examination, no matter has come to my attention: CREDITORS/amounts falling due within one year 9 (21,728) (701) (i) which gives me reasonable cause to believe that, in any NET CURRENT ASSETS 34,853 59,687 material respect, the trustees TOTAL ASSETS LESS CURRENT LIABILITIES 34,854 60,090 have not met the requirements to ensure that: • to keep accounting records (in NET ASSETS 34,854 60,090 accordance with section 41 of the Act); and • accounts are prepared which FUNDS 10 agree with the accounting records and comply with the Unrestricted funds: accounting requirements of the Act; or General fund 34,854 40,090 (ii) to which, in my opinion, Purchase reserve fund - 20,000 attention should be drawn in order to enable a proper 34,854 60,090 understanding of the accounts to be reached. TOTAL FUNDS 34,854 60,090 KTS Owens Thomas Limited June 2010 These financial statements were approved by the board of trustees on 11th June 2010 and duly signed.

CHARITY INFORMATION 31st December 2008 CHARITY NUMBER 247947 REGISTERED OFFICE Hafod Y Dail, 19 Woodland Park Ynystawe, Swansea SA6 5AR BANKERS Barclays Bank plc, Cardiff Business Centre, Cardiff ACCOUNTANTS KTS Owens Thomas Limited, The Counting House, Celtic Gateway, Cardiff CF11 0SN

Constitution Objects The objects of the Society shall be to foster and promote the maintenance, improvement and development of artistic taste, and the knowledge, understanding and appreciation of the arts among the people of Wales and for this purpose, but not otherwise, the Society shall have power to purchase contemporary works of art of accepted importance and to arrange for exhibitions of such works for the benefit of the public, and to present them to Welsh public charitable institutions. NOTES TO THE FINANCIAL STATEMENTS 31 December 2009

1 ACCOUNTING POLICIES Accounting convention The financial statements have been prepared under the historical cost convention, the Charities Act 1993 and the requirements of the Statement of Recommended Practice, Accounting and Reporting by Charities. Financial Reporting Standard Number I Exemption has been taken from preparing a cash flow statement on the grounds that the charity qualifies as a small charity. Incoming resources and resources expended Incoming resources are accounted for on an accruals basis. Expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all cost related to the category. All costs are directly attributable to their cost classifications. Governance costs Include costs of the preparation and examination of statutory accounts and cost of any legal advice to trustees on governance or constitutional matters. Tangible fixed assets Depreciation is provided at the following annual rates in order to write off each asset over its estimated useful life. Office equipment -20% on reducing balance.

2. ACTIVITIES FOR GENERATING FUNDS 8. DEBTORS: AMOUNTS FALLING DUE WITHIN ONE YEAR 2009 2008 2009 2008 £ £ £ £ Advertising revenue 1,410 1,430 Trade Debtors 2,842 5,918 Gregynog Book 2,755 17,710 4,165 19,140 9. CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR 3. Investment Income Trade Creditors 5,728 701 2009 2008 Other Creditors 16,000 - £ £ 21,728 701 Deposit account 727 3,098 interest 7

4. Governance Costs 10. MOVEMENT IN FUNDS 2009 2008 At 1/1/09 Net Transfers At movement between 31/12/2009 £ £ £ in funds funds Accountancy 650 700 £ £ Unrestricted funds 5. TRUSTEES’ REMUNERATION AND BENEFITS General fund 40,090 (25,236) 20,000 34,854 There were no trustees’ remunerations or other benefits for the year ended Purchase reserve 20,000 - (20,000) - 31 December 2009 nor for the year ended 31 December 2008. fund

TRUSTEES’ EXPENSES 60,090 (25,236) - 34,854 There were no trustees’ expenses paid for the year ended 31 December 2009 Total funds 60,090 (25,236) - 34,854 nor for the year ended 31 December 2008.

6.STAFF COSTS Net movement in funds, included in the above are as follows: There were no staff costs for the year ended 31 December 2009 nor for the year ended 31 December 2008. Incoming Resources Movement resources expended in funds £ £ £ 7. TANGIBLE FIXED ASSETS Unrestricted funds Office equipment £ General fund 31,270 (56,506) (25,236) Cost At 1 January 2009 and 31 December 2009 3,729 Total Funds 31,270 (56,506) (25,236) Depreciation At 1st January 2009 3,326 Charge for year 402 At 31 December 2009 3,728 Net Book Value At 31 December 2009 1 At 31 December 2008 403 THE 2009 BUYER’S REPORT William Gibbs

AGM presentation held at Theatr Brycheiniog, Brecon July SALLY MATTHEWS 18th 2009. Sally Matthews grew up surrounded by animals; her father was a vet and her mother a farmer’s daughter. While studying Thank you for the privilege of buying for CASW in 2008. I fine art at Loughborough Sally did a sculpture course and have thought long and hard about how and what to purchase this, in her words and why, processes that I am sure all who have bought for “unleashed and realized all that I wanted to express about animals CASW go through. There were two starting points that with a physical directness and inevitability that painting on a flat helped. First I went back to what my father Dr John Gibbs surface can never come close to. Everyone has their own reasons for had bought as CASW buyer in 1973. using animals in their art but for me I always go back to the animals themselves for inspiration. My love for them, their different form, It was clear that he had bought artists that he already new and movement, smell and nature are my reasons for making them.” valued, such as Frank Roper, Leslie Moore and Alan Lowndes, Julie Livsey writes about the way Sally Matthews works but that he also bought artists who were new to him, such “Sally’s approach is very down to earth – she notices the line, the as Jack Crabtree and, for the first time for CASW, the work stance, the position, the precise detail of form and conformation. of a photographer, David Hurn. I have done something of She delights in tiny areas of softness or the set of a tail…she tackles the same, mixing artists whose work I have loved over many her work in a confident insouciant manner …quickly in short bursts years but also taking the opportunity to see and buy the work of activity. Her finished sculptures portray the spirit of the individual of artists new to me and CASW. animal.” For me, the animals she creates are entirely unsentimental, Secondly, I have also thought about where the purchases both visceral and immediate, textured and defined. The might go. There seems to me little point to buying works materials that Sally Matthews uses are varied and surprising 8 that will remain in the CASW store and so I have tried to but carefully chosen: a deer packed with russet bracken keep in contact with curators and to buy works which will inside a steel frame, felted sheep’s wool to create the textured fit into their acquisition needs. So here are my purchases for surface for Welsh ponies, grass and hay, thistledown and CASW for 2008. briars for a Welsh ewe. It is the contrast between materials which magically creates both an animal and the spirit of the in the Tower Colliery, the sand from Aberaeron, the beach animal. Huw used to play on as a child.

The steel armature which Sally describes as like “drawing in Huw Tregaron writes; steel” expresses through its lines the anatomy and physiology “My work is first and foremost a lament at the passing of time, of the animal, the bone and sinews that define its structure the physical damage to the environment and the cultural erosion of and how it has grown. Added to this is organic matter, hay for the landscape of my childhood. ‘Landscape’ includes not only the wool, wood for bone, steel for hooves, creating a contrast physical landscape, but also the psychological and cultural terrain.” and tension out of which something new arises, the spirit of Each of his pictures is a landscape and celebrates a close the animal, the sheep-ness of the sheep. relationship both with the landscape as seen and also as I invited Sally to consider a commission for CASW in a site- interpreted by the artists who have influenced Huw - Carl specific location, The National Botanic Gardens of Wales. As Shwitters and John Piper. As I found when I visited his home you may know there is already a very striking geometrical he is also surrounded by works of the landscape artists of sculpture on the sky line given by CASW in 1997, Pi by Wales, John Elwyn, Kyffin Williams, and his father, Ogwyn Rawleigh Clay. Davies.

After discussions with Kevin Lamb, Director of the National The four pictures that he put up one by one on the easel Botanic Gardens, Sally took on the commission to create a in front of me came from the Cynefin series, a word that Welsh Black Bull which will be sited in the existing Gardens Huw describes as having no single equivalent in English but and looking towards the adjacent farmland that is being meaning “The land that is close to your heart”. developed as an example of traditional sustainable farming. The Welsh Black breed of cattle is one of the oldest in Britain, having inhabited the hills of Wales since pre-Roman times. It is a hardy breed, with the ability to withstand extremes of temperature and terrain. Over the centuries Welsh drovers herded their Blacks out of Wales along the drovers’ roads 9 to English markets. The characteristics of a good animal as defined by Welsh Black Society Handbook: Head and Horns - Moderate in length; - wide forehead, good depth through jaw; - eyes large, placid and prominent; - ears fairly large, thickly covered with soft hairs; - horns fine and well spread. The picture that I have chosen is Cynefin No V, which Body - Big roomy middle; - well sprung ribs; - deep, strong over perhaps represents iridescent polluted pools on an industrial loins. site. On the canvas you can see the shine of poured metal Thighs, Hind Legs & Feet - Thighs broad but not too thick, and Huw described to me the physical and sensory delight reaching down to the hocks; - hocks well apart. - Hind legs straight of working with his choice of materials: how, when he pours from hocks to pastern. Feet sound. the lead from a crucible, the canvas will hiss and blacken as Look for these characteristics in the terrific sculpture that the metal congeals. Sally Matthews has created. It has paused today for us outside the Theatre on its journey to the National Botanic Gardens During the process of selection I have been talking with of Wales, where it will be installed next week. Professor Dylan Jones of the Department of Psychology at the University of Cardiff. Recently the Department has commissioned a mural by Peter Randall Page for the front HUW TREGARON of the Psychology building. Inside, in the public spaces and My next artist, Huw Tregaron, has only recently begun seen by hundreds of students every day, are works by Ceri exhibiting. I first saw his work in 2008 at the University Richards, Nick Evans and Kyffin Williams. It would be good of Glamorgan Purchase Prize exhibition at the Millennium if Cynefin V joined them. Centre, then later at the Kooywood Gallery and then in his home to make a final selection. I was very struck by the confidence of his vision and his maturity in handling textures and forms. DAN LLEWELYN HALL was born in Cardiff in 1980. His paintings involve a variety of materials. The carthen Dan and I first met when he was arranging for an exhibition or Welsh blanket which represents for him community of a set of posters that he had created together with the poet and protection. Hessian and muslin are materials that he Owen Sheers, Wales Dead or Alive, an exhibition that visited remembers from the farms of Ceredigion. Brecknock and toured in 2004. On of the posters related to Sand and coal represent the land. The coal comes from deep the poem “The Steelworks” that includes the lines; “Except it doesn’t anymore up and there is still a wreckage trail across the mountain A deserted mother ship side. The pilot and navigator both died in the crash and the Becalmed upon the valley floor” wreckage is left there as their memorial.

Since then I have followed his work, admired its expressiveness In the painting there is a strange unsettling contrast between and the energy he puts into his painting. In 2003 he won the high precision man-made objects, twisted and mangled The Sunday Times Award, Young Artist of the Year. His and the beautiful but intimidating mountainside. The subject is nearly always the Welsh landscape, and his works permanent is contrasted with the ephemeral, technology show the influence of the neo- romantics, of Sutherland and with nature, death with eternity. The few seconds the pilot closer to home, of Bert Isaac. had to swerve in the mist is in stark contrast to the eons of time that went into shaping the mountain face. There is a dash and energy about his painting, with paint often dripped or splattered on the canvas, and this brings Although a picture inspired by , I hope that this immediacy to his work. He paints with vigorous quick piece will be added to the collection of Brecknock Museum strokes and bold colour, which, when these come together, and Art Gallery. Our area has its own memories of wreckage create striking and challenging paintings. He often paints on lonely hillsides. There are over 30 military crash sites in about the impact of man on the landscape, not just in the Brecon Beacons National Park and Mynydd Epynt still terms of buildings in the landscapes but in more dramatic bears the imprint of military activity. circumstances.

Over the last couple of months Dan Llewelyn Hall has been ROGER CECIL working with young people at the National Museum in The first artist on my list when I started my year of collecting Cardiff, responding to the Welsh landscape and the way it for CASW was Roger Cecil. He is, I think, one of the great has been recorded in the past. artists of Wales but hardly any of his work has found its The picture purchased for CASW was in way into public collections. It is not easy to find his works show at Brecknock Museum and Art Gallery. Robert because he is reluctant to sell his work in Wales. 10 Macdonald, chair of the Welsh Group, had invited Dan Roger was born in 1942, in Abertillery, and he still lives in to show as a specially selected young artist. It is called the the terrace house in which his parents also lived. The house Wreckage of Carnedd Llewellyn. is now filled with his pictures and his materials, with just small spaces for eating and sleeping. He is a very private person with a suspicion of the art world.

From 1959 to 1963 he studied Fine Art at Newport College of Art, and turned down the opportunity of a scholarship for further study in London, determined to stay in his own valley. This decision was the subject of a 1963 BBC documentary ‘The Gentle Rebel’. Another documentary was made last year recalling this earlier film and celebrating the four decades that he has remained living and painting in Abertillery. It showed him still walking and finding inspiration in the same hills.

Sarah Bradford knows him well and writes of the ordinary everyday materials he uses; red oxide, polyfilla, varnish, grate blacking. She describes how he builds his work in layers, rubbing and scraping back, burnishing, scratching and scoring to reveal what has gone before. In this way Roger Cecil creates subtle textures and fine marks that contribute to the final mystery of his paintings.

On the 9th of December 1957, a Canberra Bomber crashed Mary Lloyd Jones has written of this remarkable artist on Carnedd Llewelyn in the Snowdon range. The crew were “The world of a professional painter was alien to a family in a taking part in testing radar equipment. They were flying in mining community scarred by recent and long-running hardship. low cloud and had drifted to the south of their intended Until fairly recently only members of the middle classes could flight path and struck Carnedd Llewelyn some 300 feet venture into the world of fine art. This lack of a role model from a below the summit. The forward end of the aircraft broke similar background, and prevailing cultural hostility to the choice of calling could only be overcome with determination. Roger Cecil has is an opportunity to show you something of his work. My performed the alchemist’s trick of transforming negative factors into purchase of three of his works is an attempt to fill a gap in pure gold.” the Society’s Collection.

For me the work of Roger Cecil is sometimes more like a Thomas Nathaniel Davies was born in Dowlais, Merthyr in sculpture than a painting and you want to touch the surfaces 1922 and died in 1996. His father, a stonemason, through that he has worked and reworked. Holding the smaller pieces necessity worked as a bricklayer at the big steelworks which and tilting them to catch the light reveals new textures and dominated the small town. When the steelworks shut down meanings, new subtleties and emotions. His work is familiar in 1934, the family moved to Cardiff. but strange. Mary Lloyd Jones again; Shunning a promising early career with Cardiff City Football “Here is an artist who has sustained more than forty years of Club, he enrolled at Cardiff College of Art in 1939, where bonding with the scarred moorlands and valleys of his birthplace he was taught and befriended by . In 1947 he and has maintained an undiminished flow of creativity that has took up a teaching appointment at South Devon College enabled him to channel and articulate his expression of this place. In of Art at Newton Abbot. He remained there as a full-time his paintings we find the voice of the valley.” teacher, becoming Head of the College’s School of Art and Design until he retired in 1984. Here in the south west of England he got to know, to influence and be influenced by John Skeaping, Patrick Heron and Terry Frost. His work has never acquired the status of theirs but the work of Nathaniel Davies has an integrity and directness of its own.

The figurative work of the 1940s gave way to abstraction in the 1960s. In the 1970s his paintings contain large clear geometrical forms, conveying strong images. During his life he showed occasionally in Wales in group shows at the National Museum and at the Howard Roberts Gallery. In the 70s he also experimented with simple pattern constructions, 11 often working with new materials such as Perspex. In the 1990s, in his retirement, Nathaniel Davies concentrated on creating wood blocks which had always been an important part of his work. He returned to the narrative and mythical subjects that had intrigued him earlier in his life. In particular it is to images of his childhood and youth that he returned for inspiration and these are the subjects of the For CASW I have selected Summer Mist. As always his work three wood prints that I have purchased for the Society. is very difficult to photograph. Roger Cecil works in very subtle shades of blacks, greys and whites, and no reproduction can give an idea of the beauty and mystery of the picture. As with Rothko, all his pictures repay careful study - detail and forms, images and textures only begin to emerge as your eye adjusts to the picture’s tones. Early on in my buying year I contacted Oliver Fairclough, Keeper of Art at the National Museum and my hope is that this work will join the national collection, so that as many people as possible can see the work of this extraordinary artist.

NATHANIEL DAVIES There are some Welsh artists whose work has never been The first is Pit Closures, a political and social comment on collected by the Contemporary Art Society and Nathaniel the end of an era, a time of pit closures and unemployment. Davies is one such artist. His work has recently come back Out of work miners huddle below a poster for Littlewood into the public eye through a splendid website, a large scale Pools that ironically proclaims “You’ll never work again.” retrospective at the Whitworth Gallery in London and with works coming up through the London auction houses. Today CLIVE HICKS JENKINS Clive Hicks-Jenkins was born in Newport in 1951. His early pictures were strongly neo-romantic, evocations of landscape, Piperesque and like stage sets waiting for the action to start. Indeed, before he became a painter Clive had a very successful career as actor, dancer, puppeteer, choreographer, director and stage designer. Gradually, the stage of his pictures begins to fill the stage: props appear placed in key positions, and objects that have a strong significance for the artist start the narrative. The stage is being set and then characters begin to emerge, first as though placed like the figures on a puppet stage often, with a sense of mystery and expectation, the slight movement of the curtain raising the anticipation of the audience, the spectator. Then suddenly the canvases erupt into action with the Mari Lywd series, arising out of personal grief and nightmare, an extraordinary complex of controlled line and emotion, with the landmark of Tretower Castle anchoring each to a place and time. (One of this series was bought for the Society by Gareth Davies in 2001). The second is the Road to Merthyr based on an earlier Since that time Clive Hicks Jenkins’ work has deepened painting, with the buckets travelling across the road carrying yet again. The study of the fragments of a Tuscan fifteenth slag to the heaps that have since been so carefully cleared century altarpiece in Christ College has inspired his away. series The Temptations of Solitude. In these pictures the stage is filled, the narrative is in full flow. 12 These were soon to be followed by the violence and serenity, conflict and redemption of Saints and Beasts. Clive has spoken and written about his process of working with figures.

“Before I was a painter I was a choreographer. I have evolved the process of using maquettes to help me move away from the observed. When I paint a man in torment because he has been painfully ‘hung about with pots’ as a punishment, his knee might be expressively wrenched in a wrong direction. The maquette doesn’t worry about such things as muscles and ligaments. It exists without such The third is from an earlier period, a striking and boldly constraints. If I carry the trick off without a hitch, then the painting conceived piece, a fine example of wood block design and works despite the anatomical anomaly. technique Pit Colliers. In a 1949 poem, Nathaniel Davies These fragile, little works, the maquettes, are pieced together quickly wrote: from thin card, cut and then worked in any number of mediums:, I know these squatting men, monoprint, conté crayon and/or acrylic. As a painter I use exactly These silicosised coughing men, the same techniques I used as a choreographer and a director in the These bitter unemployed men arguing again, theatre. And again for fair spirituality. When I walk into a studio it is exactly like walking into a rehearsal room with a group of dancers. The maquettes that I make are my These are not unique works and are ideal for the Society to actors. By making these maquettes I get to know the actors. It is like lend to schools or colleges, libraries or hospitals…or to form being an actor; I am making a leap into their skin. Once I know I a part of wider travelling exhibition of prints drawn from the how they work and smell and think then I make the paintings.” CASW collection. This could follow the successful model that Tony Curtis instituted during this past year and return to The picture I have bought for the Society, Madonna of the a strong CASW tradition of creating its own exhibitions. Goldfinches, marks a new and even more important stage in his development as a painter, a creator of narrative painting unmatched in the UK today. The Angel Gabriel has descended hot from Heaven, a charm of goldfinches has sprung to life, Each individual piece is now also part of a group. In these sequences the vessels relate to each other in a tantalising and dramatic way, variations in patina and internal colour bring a dynamic interplay between the vessels which suggests both the passage of time and the immutability of landscape. Variations of shape and size, decoration and colouring make these series bewitchingly beautiful. The space that each vessel contains is marked by a variety of internal gilding, the exterior surfaces are in dulled silver, creating subtle shading as they catch and reflect the light.

Seeing these pieces for the first time I felt a physical shock at their simple and beautiful form, powerful and direct. These are more than vessels; they are hollow sculptures with a directness of form reminiscent of Hepworth or Arp.

maybe to calm Mary, who is on the hills above her home, somewhere on the west coast of Wales. Look hard and savour the detail, relish the colour and the textures, feel the overall joy of the picture, and thrill at this 13 moment of mystery and drama.

I chose for CASW the simplest and, for me, purest and most PAMELA RAWNSLEY expressive series, a pair of vessels called Mad March, inspired Pamela Rawnsley lives and works in what was a farmhouse by watching Hares chasing and feeding on the hillside. I and is now a studio in the Cwm Oergwm valley, one of the love the way that they react and play together as a pair - secret valleys that runs up into the Brecon Beacons. At the the contrast of the gilding on the inside and the wonderful time of my visit Pamela was preparing for the first exhibition nuances of colour that the unpolished silver creates. They are at the new Ruithin Gallery. simple and yet complex and they are beautifully made.

She established her first workshop in the 1980s and in the One of my hopes during my year of purchasing was to use past she has concentrated on creating strong but textured and CASW funds to stimulate other funding for works of art. delicate jewellery. In recent years Pamela has started working As soon as I saw these pieces I contacted Andrew Renton, on a much larger scale, creating beautiful vessels out of silver. Keeper of Applied Art at the National Museum who was Her work reflects and is inspired by the landscape around her delighted to have the opportunity to add these to the silver studio, its varying moods, the contrast of textures and detail collection in Cardiff. Their purchase has been partly funded in bark and rock, the larger forms of mountains and clouds, by CASW and the rest of the funding has come from the the ambiguity and shape-shifting nature of the shadows on Derek Williams Trust. Perhaps this is a model of the way that the hillsides. The work arises out of close observation of the CASW can use its resources to unlock funding from other landscape around her in the Beacons, and from the quick Trusts and agencies. sketches she makes on her walks on the mountainside above My thanks to all the artists who through their talent, skill the farm. and vision have made choosing the works so exciting, and Pamela Rawnsley writes of the power of “Changes in colour, rewarding. All the artists are here today, except for Roger line density, cloud shadows, lines made by sheep paths, patterns of Cecil, so do take the opportunity to talk to them about their distant areas of bracken or heather”. It is an area she describes work. Finally, my thanks to you - the Contemporary Arts as ‘not a peaceable pastoral scene but one of great drama’. Society for Wales -for giving me the opportunity to do what For her recent show Shape-Shifting, which opened the provides so much depth and meaning to my life; looking at Ruithin Gallery, Pamela has started to create series of vessels. and reacting to pictures and sculptures. Art Matters at the White Lion Street Gallery

Judith Stroud Mick Morgan Penelope Timmis 1 White Lion Street Tenby Pembrokeshire Paintings and original prints together with some ceramics and sculpture. Open daily except Wednesday from 10am to 5pm 01834 843375 www.artmatters.org.uk Andrew Douglas Forbes Hilary Paynter 14 PURCHASES CASW 2008

The Wreckage of Carnedd Llewelyn Vessel Sequence : Mad March Dan Llywelyn Hall Pamela Rawnsley Oil on canvas 2006 Silver, gilding, black gilding 2008 U 91.5 x 91.5cm F 106 x 108cm Location: National Museum and Art Gallery, Cardiff

The Road to Merthyr Welsh Black Bull Nathaniel Davies (1922-1996) Sally Matthews Woodblock print 1994 Steel, burnt gorse, black wool U 41 x 38 cm F 67 x 62cm 2008-9 Location: National Botanic Gardens of Wales

Pit Closures Cynefin V Nathaniel Davies(1922-1996) Huw Tregaron Woodblock print 1993 Mixed media 2008 U 32 x 46 cm F 57 x 68cm U 90cm x 140 cm

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Pit Colliers Summer Mist Nathaniel Davies (1922-1996) Roger Cecil Woodblock print 1970 Mixed media 2001 U 42 x 63 cm F 66 x 86 cm U 150 cm x 182 cm

The Virgin of the Goldfinches Clive Hicks Jenkins Acrylic on panel 2009 U 112 x 82 cm Location: Hopefully to Llandaff Cathedral Art Works is Wales’ only art technical and logistics company providing a service to arts organisations, museums, galleries, artists and collectors in Wales and the U.K.

We hang and install art in public and private spaces and undertake the careful handling, packing and transportation of painting, sculpture and applied art objects.

We can offer professional expertise in: Packing Transportation Touring Exhibitions Temporary Events Storage Display systems Lighting Insurance International transport Security

Advice is free. Please contact Pete Goodridge. Coldbrook, t: 01 873 858 015 Abergavenny, m: 07 976 721 099 Monmouthshire, e: [email protected] Wales, U.K. NP7 9ST

16 friends ad 09:friends advert 21/4/09 12:27 Page 1

Cyfeillion Amgueddfa Cymru Friends National Museum Wales Aelodau o’r cyhoedd yw’r Cyfeillion sy’n The Friends are members of the public dod at ei gilydd i gefnogi Amgueddfa Cymru. brought together to support Amgueddfa Cymru – National Museum Wales.

Mae amcanion y Cyfeillion yn cynnwys: The aims of the Friends include: - sbarduno diddordeb y cyhoedd yn - the stimulation of interest in the Museums Amgueddfa Cymru among all sections of the public - annog y cyhoedd i gefnogi Amgueddfa Cymru - encouraging the public to support - codi arian ar gyfer projectau arbennig Amgueddfa Cymru - raising funds for special projects Fel aelod o’r Cyfeillion fe gewch chi: - Gopi o Adroddiad Blynyddol y Cyfeillion Membership of the Friends entitles you to: - Cylchgrawn ‘Digwyddiadau’ - A copy of the Friends’ Annual report - Cylchlythyr y Cyfeillion ddwywaith y flwyddyn - ‘What’s On’ magazine - 10% o ddisgownt yn siopau, bwytai a chaffis - Friends’ newsletter twice a year Amgueddfa Cymru - 10% discount in Amgueddfa Cymru shops, - Disgownt ar bris mynediad i arddangosfeydd a restaurants and cafes digwyddiadau arbennig - Concession admission into special exhibitions and events at Amgueddfa Cymru Mae mynediad i holl safleoedd Amgueddfa Cymru Admission to all the Museum sites is free of charge. yn rhad ac am ddim. Codir tâl ar gyfer rhai Some special exhibitions and events carry a arddangosfeydd a digwyddiadau arbennig. separate charge. 17

Os oes diddordeb gennych chi ymuno â’r Cyfeillion, If you are interested in becoming a Friend please write to: ysgrifennwch at: Yr Ysgrifennydd Tanysgrifio (Cyfeillion), Subscriptions Secretary (Friends) Amgueddfa Cymru National Museum Wales Parc Cathays, Cathays Park CAERDYDD, CF10 3NP CARDIFF, CF10 3NP

Fframiwyd Florilegium, Banks drwy gymorth y Cyfeillion. Banks Florilegium, framed with the support of the Friends 2009 CARDIFF PURCHASE PRIZE CASW National Eisteddfod Meirion a’r Cyffiniau

At Eisteddfod Genedlaethol Cymru, Meirion a’r Cyffiniau 2009, Bala, the Contemporary Art Society for Wales awarded their Annual Purchase Prize to MOMA WALES. The works chosen were Bachysaint by Elfyn Lewis, Winner of the Gold Medal for Fine Art; Ci Tanerdy by Stephen West; and Cofiwch Dryweryn by Emily Jenkins. All three works have since been exhibited in the galleries of MOMA WALES to great interest.

The Directors are immensely grateful to CASW for their generosity and to Robyn Tomos of Eisteddfod Genedlaethol for his part in helping to facilitate the award. The fact that MOMA WALES received it in Bala, a mainspring of Welsh culture, made it very special. Elfyn Lewis - Bachysaint

Emily Jenkins is a graduate of the Cardiff School of Art Stephen West works in sculpture and drawing as well as and Design and has recently been successful in gaining curating exhibitions and teaching. He descibes his work funding from the Arts and Humanities Research Council as using iconic and symbolic imagery both figurative and to continue her research within the National Centre for expressionist. Media include stone carving, construction, Ceramics, Cardiff. charcoal, ink and multi media drawings and constructions. He has worked from the same studio for 25 years in Llangadfan, as well as recently using a new work place in 18 Mid West France and a new art field, Cae Gorlan, in Mid Wales, which is used for contemporary rural sculpture.

Stephen writes “I showed some stone carvings in the Old Tannery building at Machynlleth’s Museum of Modern Art Wales in 2009 and heard the story of three dogs that used to work there in the old days, guarding the building and contributing to the tanning process. This inspired me to start on a series of dog drawings imagining three Emily Jenkins - Cofiwch Dryweryn special dogs for the tannery.”

Elfyn Lewis who is originally from Porthmadog, received the Gold Medal for Fine Art and £3,000 prize money at Bala. This was the first time that Elfyn had exhibited in Y Lle Celf since 1999. Elfyn has exhibited widely during his career and has won several awards, including the prestigious Focal Purchase Prize and the Warren Morris Perpetual Cup. “I’m delighted to have won the Gold Medal at this year’s National Eisteddfod. I feel that all the work I’ve done over the years as an artist is now being recognised. I’ve been tremendously lucky to have had the support of my family and art teachers, who gave me the impetus and belief to carry on with my ambition to paint and be an artist. My work as a painter is a process-based practice that has developed over the past 15 years. I work on the surface, applying Stephen West - Ci Tanerdy paint time and again with various tools to try and capture an image that might have a feeling of somewhere, be it landscape or just purely about the paint. I paint directly on mdf or canvas using acrylic paint that is pushed and dragged across the surface with various brushes and trowels.” 19 NEWPORT ART GALLERY

NEWPORT MUSEUM & ART GALLERY John Frost Sq., Newport, S.Wales NP20 1PA Tel: 01633 656656

THE MUSEUM, established in 1888, houses fascinating displays, depicting Local History, Natural Sciences and Archaeology, including important material from Roman Caerwent, and the Chartist Uprising of 1839.

THE ART GALLERY presents an imaginative and stimulating programme of exhibitions, and houses collections of historic and contemporary British paintings together with ceramics and sculpture. Of particular note are the John Wait Teapot Collection and the FOX Collection of decorative art.

Open Monday - Saturday ADMISSION FREE

Museum Shop and Tourist Information Centre

20 ‘Sausage Shop’ by Stanley Spencer

ORIEL Q QUEENS HALL GALLERY Narberth, Pembrokeshire SA7 7AS

Three exhibition spaces on the top floor of Queens Hall, with shows changing monthly. See web for previous exhibitions. telephone 01834 869454 [email protected] www.orielqueenshallgallery.org.uk 21 LIST OF MEMBERS (in alphabetical order) AS AT 31st DECEMBER 2008

LIFE MEMBERS Asscher, Sir William Baxter-Wright, Mr T R Elias, Mrs J E James, Ms N Baker, Miss J E and Mrs A R Elias, Mrs R M Jenkins, Mrs E Beck, Dr P and Mrs L Beale, Mrs H M O Entwistle, Dr D M Jenkins, Ms Gloria Crane, Dr J E Beechey, Mrs M E and Dr M R Jenkins, Ms S P Davies, Dr and Mrs D K L Bell, Miss C T Evans, Dr D A and Mrs I J Jessop, Dr J D and Mrs A M Davies, Mr C J and Mrs E Benskin-Mesher, Mrs S Evans, Dr D E and Dr C L Jones, Dr T L and Mrs I Davies, Mr D and Mrs P Brett, Miss P Evans, Mr D J and Mrs E J Jones, Mr H O and Mrs P M Davies, Prof and Mrs A W Brown, Mr R and Evans, Dr J M and Mrs M A Jones, Mr S O and Mrs M Edwards, Miss V Blayney, Mr M Evans, Mr J W and Mrs S Jones, Mrs V B Evans, Dr D M D and Mrs E M Burton, Dr C W and Evans, Prof K T and Dr S M Jones, Ms M O Gibbs, Dr J N and Mrs E Mrs R A Evans, Mrs M D Jones, Ms R M Gibbs, Mr and Mrs S Capel, Mrs F C I Evans, Mrs P R Jones, Prof D M and Dr M E L Gibbs, Mr W M Carpenter, Mr T R Evans, Mr R A Jones, Prof D T and Gooding, Mr and Mrs A J Carter, Mr B and Mrs E Evans, Mrs S E Tannahill, Dr M M Griffiths, Mrs J Cartwright, Mrs M Evans, Mrs S M Kearns, Ms T J Griffiths, Mrs M K Cashmore, Miss M Evans, Mr T D and Mrs D E Kellam, Dr A M P and Mrs M Henderson, Prof A Cattell, Mrs R B Evans, Mr W Lindsay, DL Kemp, Miss M Hibbard, Prof B and Dr E Chapple, Mr Carl Eyres, Mrs E J, MBE Kempston, Mr W J A Jones, Dr M B Chilcott, Mr A W and Mrs H Fitz, Mrs C Jane and Mrs I H Jones, Mr H G and Mrs A E Childs, Mr C G Fitzgerald, Mr J A OBE Kerrison, Mrs A Jones, Mrs G Childs, Mrs E C Forster, Mr R A and Mrs C E Knight, Mr J K Jones, Mrs M Chubb, Dr L V and Mrs M M Foy, Dr G and Dr J M Lambert, Cpt R R and Mrs R Kernick, Miss K P Clee, Mr P W Gagg, Mr R D and Mrs J V Lazarus, Prof J H and Mrs M H Lancaster, Mrs V M Cole, Miss J Gatehouse, Miss M Lehtovirta, Mrs G M Mansfield, Prof and Mrs R Confrey, Mr N P and Mrs D E George, Mr D B L Lewis, The Hon A T Pritchard, Mr Matthew, CBE Cooper, Miss E M J George, Mrs Maureen Lewis, The Hon R W and Mrs J Rees-Mathews, Mrs J M Corcoran, Mrs J D Giardelli, Mrs B Lindsay, Mr R E and Dr O G M 22 Roberts, Mr O D Cory, Mrs J G Goodridge, Mr P F and Lloyd, Mrs G F Salter, Miss V A Cour, Mrs G I Brown, Ms M A Lockyer, Dr P Stevens, Mr T J Courage, Mrs V M Grant, Mrs E T Looker, Mr L H Thomas, Miss E Mair Cox, Lady Rosamund Shelley Green, Mrss J J Lovell, Mrs M Thomas, Mr T and Mrs M Craigmyle, Mrs S S Greensmith, Mrs S L Manning, Prof W H Thomas, Mrs Mair Cramp, Mr J D and Mrs E Greenwood, Mrs M and Mrs M O Thompson, Mrs T Crouch, Mr B I and Mrs E W Griffin, Mr M and Mrs M E Markham, Mrs R H Tinney, Mr Martin Curley, Mrs M C Griffith, Dr I P and Mrs V E Marr-Johnson, Mrs C Wakelin, Dr A P and Curran, Mr P D, QC Griffith, Mrs Elan G Marshall, Prof R J Hicks- Jenkins Mr C and Mrs M T A Griffiths, Dr M C Maskell, Mr B T Williams, Mrs M Curtis, Prof T and Mrs M Griffiths, Mr E M and Mrs A L McClelland, Miss J Yarr, Dr N T Danter, Mr Geoffrey Arnold Griffiths, Mrs A McDowall Mr N and Mrs F Davey, Mrs E M Griffiths, Mrs B J Melling, Miss A Davidson, Dr J M Haines, Dr E PhD Moore, Cdr Donald, MBE Davies, Dr D R and Mrs P Hall, Miss M Moore, Mr David C Davies, Dr J S and Mrs M L Y Hamer, Mr N J Morgan, Mr J K ORDINARY Davies, Dr P M and Mrs M D Handy, Miss M E Morgan, Mr N R S Davies, Miss E M, OBE Harding, Mr R J B and Dr S J Morgan, Mrs R M Abbass, Mr Abbey Davies, Miss M E Llewellyn Harries, Mrs P M Morgans, Mr S G Aberg, Mr F A and Mrs K Davies, Mr A J Hart, Mr A J and Mrs J C Morison, Mrs S J Aeron-Thomas, Mr P Davies, Mr D G and Mrs S E Hart, Mrs E V Morris, Miss A L Alam, Mrs M C Davies, Mr R and Mrs S L Hawksley, Mrs R J P, ARCA Napier, Dr J A and Mrs A S Allan, Mr L D and Mrs E Davies, Mr T G and Mrs M M Hayes, Prof T M and Mrs I M Neal, Mr S J G Allan, Mrs V M Davies, Mrs G P Head, Mrs W J Neill, Miss C M Ambegaokar, Dr U Davies, Mrs M T Helsby, Mrs D M Ng, Dr W S and Mrs M Andrews, Mr D H and Davies. Ms Marion Hession, Mrs H N O’Callaghan, Dr U Mrs D A Dawson, Mr C R and Mrs B Hockley, Mr H J O’Connell, Miss G Armfield, Miss D M, RA de Lloyd, Mr W R and Mrs S A Hodgson, Mrs B H O’Keeffe, Mrs M Arthur, Mrs E Deacon, Mrs Caroline J Howe, Mrs K Olley, Mrs S M Bala, Mr Iwan Devlin, Mrs A M Hughes, Miss A G O’Sullivan, Prof P and Mrs D Bancroft, Mrs B R H Dover, Mr E and Mrs M Hughes, Mrs I S Owen, Cllr M Kelly Bartz, Mr S Drake, Cllr M E Jackson, Ms D M Paisey, Mrs R M Bawler, Mrs G E Draper, Mrs J James, Cllr H J and Mrs R I Parry-Jones, Mrs M J Edwards, Mrs M E R James, Mrs E M Pepper, Mr M Perkins, Mrs M M and Mrs C Thomas, Ms T Phillips, Dr S Short, Mr D R C and Mrs E J Thompson, Dr E N Phillips, Mr R L and Mrs G C Sinnott, Mr K F Tinker, Mrs D T Pill, Lady R M Smith, Dr P M and Tonkin, Mrs C J Popper, Dr H and Mrs M M J Olafsdottir, Dr R Tress, Mr D H Price, Mr R J and Mrs S Smith, Prof Dai B and Mrs N van Lierop, Mr B L Price-Owen, Dr A L Sowden, Mr J C and Mrs E and Mrs M A Pringle, Mr N and Mrs E Sparkes, Mrs J Vickers, Mrs A H Pryce, Mrs B M Spiller, Mr A J and Mrs B E Vining, Mr P and Mrs C G Pugh, Mr R A (aka Puw) Spottiswoode, Mr J N Wakley, Mrs W Pyke, Mrs M C and Mrs M M Walcot, Mrs J M E Rees, Dr E H, JP Spriggs, Mr P H Walker, Miss A, MBE Rees, Mr B H and Mrs V Spurlock. Mr K E and Mrs K Watkins, Dr W R and Dr E G Rees, Mr B I and Mrs S E Stafford, Mrs D Webster, Mrs J Rees, Mr J E L OBE Starkey, Ms N Wiener, Dr P C I and Dr J J Rees, Mr W L Stevenson, Mr P M William, Dr Eurwyn and and Pugh, Mrs E J Steyn, Ms Z Mrs Mary Robbins, Mr D and Mrs P Stone, Mr G and Mrs A M Williams, Dr D M J Roberts, Prof G M Sullivan, Mr P and Dr M V and Mrs B M Swaffield, Mr J A and Mrs D Williams, Miss G E M Robertson, Prof N R E Taylor, Col R A and Mrs RM Williams, Mrs M and Mrs M W Telders, Ms Martina Williams, Ms J A Roe, Mr D M and Mrs A Tenby Museum & Art Gallery Wilson, Mr F J and Mrs D Roese, Mrs C B M Tester, Mrs P Wolfle, Dr J and Mrs E E Saer, Mr R and Mrs A Thomas, Miss A J, JP Yapp, Mr C D and Mrs M H Salisbury, Mr A and Dr J Thomas, Mrs D G E Yates, Mrs I Scourfield Lewis, Mr A Thomas, Mrs M V Yeomans, Mr G

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DATES FOR YOUR DIARY

SEPTEMBER - DECEMBER 2010

More details about CASW, past and present can be found on the website www.casw.org.uk

Saturday September 4th: Visit to home of Professor Tony and Mrs Margaret Curtis Tuesday September 21st: Evening Lecture Series Sue Hiley Harris Artist “Woven Sculptures” Saturday October 9th: Lisvane Lecture and Lunch Professor Sioned Davies – Head of the School of Welsh, Cardiff University “Illustrating the Mabinogi” Tuesday October 19th: Evening Lecture Series Peter Spriggs- Artist “Continuing to make art and trying to make it better” November 12-15th: London Study Tour Tuesday November 16th: Evening Lecture Series Harvey Hood Sculptor “Harvey Hood – My Time in Wales” Saturday December 4th: Lisvane Lecture and Lunch Professor David Skilton – Research Professor in English, Cardiff Univer- sity “ Sublime, appalling, iconic: painting the Thames across the ages”

Further details and booking form for each bookable event ( Lisvane, trips and visits ) either by postal mail or email. More details about CASW activities, past and present can be found on www.casw.org.uk 26 Wellfield Road, Cardiff CF24 3PB Tel: 029 20 480088 24 [email protected]

Travel Organiser for Contemporary Art Society for Wales