2015
ArcadeCardiff 30.5.15 – 13.6.15
More room for error — Nicola Ellis
More room for error is a touring exhibition of new works by artist Nicola Ellis examining the physical join between objects and the space they inhabit. Commissioned and curated by Mark Devereux Projects, the project will visit Arcadecardiff (Cardiff), &Model (Leeds) and Bloc Projects (Sheffield) in 2015.
In More room for error, Ellis looks at material components that are often intentionally hidden in structures and spaces. Exposing the weld or stitch between materials and highlighting their imperfections, her work questions underlying assumptions around the functions and roles of different objects and materials in architectural space.
Much of the works within the exhibitions are focused around Ellis’ investigations into metalworking, with a particular focus on welding steel. Ellis has studied, researched and learnt the industry standard rules, which she has then gone on to question, dissect and divert into a methodology for creating art works. The results of this investigation, mixed with acts of ‘play’ and interpretations of space, offer an opportunity for us to consider the relations between what is sculpture and what is structure.
Featuring work made over the last eighteen months, alongside pieces made in situ, More room for error is the largest exhibition of Ellis’ practice to date. Ellis will be in residence at each of the galleries prior to the launch of the exhibitions creating new work in response to the fabric of the space. The final exhibition at Bloc Projects in Sheffield will be centred on the city’s historic steel industry and the gallery’s previous usage as a grinding shed by Granton Knives who have been producing cutlery in Sheffield since 1601.
Complementing the exhibition, Mark Devereux Projects have commissioned a new publication featuring an essay by &Model Director Derek Horton and works made during the project.
More room for error is funded by Arts Council England and has been developed, supported and commissioned by Mark Devereux Projects, with thanks for support from Eltec Engineering Services, Littoral, Arcadecardiff, &Model and Bloc Projects. Nicola Ellis is Supported by Mark Devereux Projects.
Further information
Nicola Ellis
nicolaellis.com
Nicola Ellis graduated from the Manchester School of Art in 2011 with an MA in Fine Art. Her work recently featured in exhibitions including You won’t see that bit anyway (solo exhibition), 20-21 Visual Arts Centre, Scunthorpe, UK, (2014); Head to Head: Nicola Ellis and Aura Satz, Castlefield Gallery, Manchester, UK (2013); Part of the Programme, FAFA Gallery, Helsinki (2012); and Cabedal, Plataforma Revolver, Lisbon (2012). Nicola Ellis is Supported by Mark Devereux Projects.
Mark Devereux Projects
markdevereuxprojects.com
Mark Devereux Projects supports visual artists through mentoring, critical dialogue and curatorial production. Each practitioner’s artistic and career development is paramount, as the organisation provides bespoke guidance, information and opportunities. Our vision is to increase the provision for bespoke support to visual artists during the transition from early to mid-career. Through collaboration from external partners and individuals, Mark Devereux Projects aims to bring artists, galleries, collectors and audiences closer.
Mae ‘Mwy o le i gamgymeriadau’ yn arddangosfa deithiol o waith newydd gan yr artist Nicola Ellis sydd yn archwilio’r cysylltiad rhwng y’r gwrthrychau ffisegol a’r gofod y maent yn byw yn. Gomisiynwyd ac a guradwyd gan Prosiectau Mark Devereux, bydd y prosiect yn ymweld â Arcadecardiff (Caerdydd), Model (Leeds) a Phrosiectau Bloc (Sheffield) yn 2015.
Yn ‘Mwy o lle i gamgymeriadau’ mae Ellis yn edrych ar gydrannau deunydd sy’n aml yn cael eu cuddio yn fwriadol mewn strwythurau a mannau. Trwy datgelu’r weldio neu pwyth rhwng deunyddiau a thynnu sylw at eu ddiffygion, mae ei waith yn chwestiynnu rhagdybiaethau sylfaenol o amgylch y swyddogaethau a rolau gwahanol yr wrthrychau a deunyddiau fewn gofod pensaernïol.
Mae llawer o’r gwaith yn yr arddangosfeydd yn cael eu canolbwyntio ar ymchwiliadau Ellis a’i gwaith metel, gan ganolbwyntio’n benodol ar ddur weldio. Mae Ellis wedi astudio, ymchwilio a dysgu rheolau safonol y diwydiant, y mae hi’n wedyn wedi mynd ymlaen i gwestiynnu, ddyrannu a dargyfeirio i mewn methodoleg ar gyfer creu gweithiau celf. Mae canlyniadau’r ymchwiliad hwn wedi’i gymysgu gyda gweithredoedd o ‘chwarae’ a dehongliadau o gofod, sydd yn cynnig cyfle i ni ystyried y berthynas rhwng yr hyn sy’n cerflun a beth yw strwythur.
Yn cynnwys gwaith a wnaed dros y deunaw mis diwethaf, ochr y â darnau a wnaed yn y fan a’r lle, ‘Mwy lle i gamgymeriad’ yw’r arddangosfa fwyaf o ymarfer Ellis hyd yn hyn. Bydd Ellis yn preswylio ym mhob un o’r orielau cyn lansio’r arddangosfeydd creu gwaith newydd yn ymateb i ffabrig y gofod. Bydd yr arddangosfa derfynol yn Prosiectau Bloc yn Sheffield yn canolbwyntio ar y diwydiant dur hanesyddol y ddinas a defnyddiodd yr oriel yn blaenorol fel sied crensian gan Cyllyll Granton sydd wedi bod yn cynhyrchu cyllyll a ffyrc yn Sheffield ers 1601.
I gyd-fynd â’r arddangosfa, mae Prosiectau Mark Devereux wedi comisiynu cyhoeddiad newydd sy’n cynnwys traethawd gan Cyfarwyddwr & Model Derek Horton ac waith cafodd eu wneud yn ystod y prosiect.
Mae ‘Mwy o le i gamgymeriadau’ yn cael ei ariannu gan Gyngor Celfyddydau Lloegr ac fe’i datblygwyd, cefnogi a’u comisiynu gan Prosiectau Mark Devereux, gyda diolch i gefnogaeth gan y Gwasanaethau Peirianneg Eltec, Littoral, Arcadecardiff, &Model a Phrosiectau Bloc. Mae Nicola Ellis wedi ei cefnogi gan Prosiectau Mark Devereux.
Gwybodaeth bellach
Nicola Ellis
nicolaellis.com
Graddiodd Nicola Ellis o Ysgol Gelf Manceinion yn 2011 gydag MA mewn Celfyddyd Gain. Mae ei gwaith ddiweddar yn cynnwys arddangosfeydd gan gynnwys ‘Ni fyddwch yn gweld y darn yna beth bynnag’ (arddangosfa unigol), 20-21 Ganolfan Celfyddydau Gweledol, Scunthorpe, DU, (2014); Pen i pen: Nicola Ellis a Aura Satz, Oriel Castlefield, Manceinion, DU (2013); Rhan o’r Rhaglen, Oriel FAFA, Helsinki (2012); a Cabedal, Plataform Revolver, Lisbon (2012). Mae Nicola Ellis yn cael ei cefnogi gan Mark Prosiectau Devereux.
Mark Prosiectau Devereux
Prosiectiau Mark Devereux
markdevereuxprojects.com
Mae Prosiectau Mark Devereux yn cefnogi artistiaid gweledol drwy fentora, deialog feirniadol a chynhyrchu curadurol. Mae datblygiad artistig a gyrfaol pob ymarferydd yn hollbwysig, gan fod y sefydliad yn darparu canllawiau pwrpasol, gwybodaeth a chyfleoedd. Ein gweledigaeth yw cynyddu’r ddarpariaeth ar gyfer cymorth pwrpasol i artistiaid gweledol yn ystod y cyfnod pontio rhwng dechrau a chanol-gyrfa. Trwy gydweithio gan bartneriaid ac unigolion allanol, mae Prosiectau Mark Devereux yn dod a artistiaid, orielau, casglwyr a chynulleidfaoedd yn nes.
More room for error — Nicola Ellis
More room for error is a touring exhibition of new works by artist Nicola Ellis examining the physical join between objects and the space they inhabit. Commissioned and curated by Mark Devereux Projects, the project will visit Arcadecardiff (Cardiff), &Model (Leeds) and Bloc Projects (Sheffield) in 2015.
In More room for error, Ellis looks at material components that are often intentionally hidden in structures and spaces. Exposing the weld or stitch between materials and highlighting their imperfections, her work questions underlying assumptions around the functions and roles of different objects and materials in architectural space.
Much of the works within the exhibitions are focused around Ellis’ investigations into metalworking, with a particular focus on welding steel. Ellis has studied, researched and learnt the industry standard rules, which she has then gone on to question, dissect and divert into a methodology for creating art works. The results of this investigation, mixed with acts of ‘play’ and interpretations of space, offer an opportunity for us to consider the relations between what is sculpture and what is structure.
Featuring work made over the last eighteen months, alongside pieces made in situ, More room for error is the largest exhibition of Ellis’ practice to date. Ellis will be in residence at each of the galleries prior to the launch of the exhibitions creating new work in response to the fabric of the space. The final exhibition at Bloc Projects in Sheffield will be centred on the city’s historic steel industry and the gallery’s previous usage as a grinding shed by Granton Knives who have been producing cutlery in Sheffield since 1601.
Complementing the exhibition, Mark Devereux Projects have commissioned a new publication featuring an essay by &Model Director Derek Horton and works made during the project.
More room for error is funded by Arts Council England and has been developed, supported and commissioned by Mark Devereux Projects, with thanks for support from Eltec Engineering Services, Littoral, Arcadecardiff, &Model and Bloc Projects. Nicola Ellis is Supported by Mark Devereux Projects.
Further information
Nicola Ellis
nicolaellis.com
Nicola Ellis graduated from the Manchester School of Art in 2011 with an MA in Fine Art. Her work recently featured in exhibitions including You won’t see that bit anyway (solo exhibition), 20-21 Visual Arts Centre, Scunthorpe, UK, (2014); Head to Head: Nicola Ellis and Aura Satz, Castlefield Gallery, Manchester, UK (2013); Part of the Programme, FAFA Gallery, Helsinki (2012); and Cabedal, Plataforma Revolver, Lisbon (2012). Nicola Ellis is Supported by Mark Devereux Projects.
Mark Devereux Projects
markdevereuxprojects.com
Mark Devereux Projects supports visual artists through mentoring, critical dialogue and curatorial production. Each practitioner’s artistic and career development is paramount, as the organisation provides bespoke guidance, information and opportunities. Our vision is to increase the provision for bespoke support to visual artists during the transition from early to mid-career. Through collaboration from external partners and individuals, Mark Devereux Projects aims to bring artists, galleries, collectors and audiences closer.
Mae ‘Mwy o le i gamgymeriadau’ yn arddangosfa deithiol o waith newydd gan yr artist Nicola Ellis sydd yn archwilio’r cysylltiad rhwng y’r gwrthrychau ffisegol a’r gofod y maent yn byw yn. Gomisiynwyd ac a guradwyd gan Prosiectau Mark Devereux, bydd y prosiect yn ymweld â Arcadecardiff (Caerdydd), Model (Leeds) a Phrosiectau Bloc (Sheffield) yn 2015.
Yn ‘Mwy o lle i gamgymeriadau’ mae Ellis yn edrych ar gydrannau deunydd sy’n aml yn cael eu cuddio yn fwriadol mewn strwythurau a mannau. Trwy datgelu’r weldio neu pwyth rhwng deunyddiau a thynnu sylw at eu ddiffygion, mae ei waith yn chwestiynnu rhagdybiaethau sylfaenol o amgylch y swyddogaethau a rolau gwahanol yr wrthrychau a deunyddiau fewn gofod pensaernïol.
Mae llawer o’r gwaith yn yr arddangosfeydd yn cael eu canolbwyntio ar ymchwiliadau Ellis a’i gwaith metel, gan ganolbwyntio’n benodol ar ddur weldio. Mae Ellis wedi astudio, ymchwilio a dysgu rheolau safonol y diwydiant, y mae hi’n wedyn wedi mynd ymlaen i gwestiynnu, ddyrannu a dargyfeirio i mewn methodoleg ar gyfer creu gweithiau celf. Mae canlyniadau’r ymchwiliad hwn wedi’i gymysgu gyda gweithredoedd o ‘chwarae’ a dehongliadau o gofod, sydd yn cynnig cyfle i ni ystyried y berthynas rhwng yr hyn sy’n cerflun a beth yw strwythur.
Yn cynnwys gwaith a wnaed dros y deunaw mis diwethaf, ochr y â darnau a wnaed yn y fan a’r lle, ‘Mwy lle i gamgymeriad’ yw’r arddangosfa fwyaf o ymarfer Ellis hyd yn hyn. Bydd Ellis yn preswylio ym mhob un o’r orielau cyn lansio’r arddangosfeydd creu gwaith newydd yn ymateb i ffabrig y gofod. Bydd yr arddangosfa derfynol yn Prosiectau Bloc yn Sheffield yn canolbwyntio ar y diwydiant dur hanesyddol y ddinas a defnyddiodd yr oriel yn blaenorol fel sied crensian gan Cyllyll Granton sydd wedi bod yn cynhyrchu cyllyll a ffyrc yn Sheffield ers 1601.
I gyd-fynd â’r arddangosfa, mae Prosiectau Mark Devereux wedi comisiynu cyhoeddiad newydd sy’n cynnwys traethawd gan Cyfarwyddwr & Model Derek Horton ac waith cafodd eu wneud yn ystod y prosiect.
Mae ‘Mwy o le i gamgymeriadau’ yn cael ei ariannu gan Gyngor Celfyddydau Lloegr ac fe’i datblygwyd, cefnogi a’u comisiynu gan Prosiectau Mark Devereux, gyda diolch i gefnogaeth gan y Gwasanaethau Peirianneg Eltec, Littoral, Arcadecardiff, &Model a Phrosiectau Bloc. Mae Nicola Ellis wedi ei cefnogi gan Prosiectau Mark Devereux.
Gwybodaeth bellach
Nicola Ellis
nicolaellis.com
Graddiodd Nicola Ellis o Ysgol Gelf Manceinion yn 2011 gydag MA mewn Celfyddyd Gain. Mae ei gwaith ddiweddar yn cynnwys arddangosfeydd gan gynnwys ‘Ni fyddwch yn gweld y darn yna beth bynnag’ (arddangosfa unigol), 20-21 Ganolfan Celfyddydau Gweledol, Scunthorpe, DU, (2014); Pen i pen: Nicola Ellis a Aura Satz, Oriel Castlefield, Manceinion, DU (2013); Rhan o’r Rhaglen, Oriel FAFA, Helsinki (2012); a Cabedal, Plataform Revolver, Lisbon (2012). Mae Nicola Ellis yn cael ei cefnogi gan Mark Prosiectau Devereux.
Mark Prosiectau Devereux
Prosiectiau Mark Devereux
markdevereuxprojects.com
Mae Prosiectau Mark Devereux yn cefnogi artistiaid gweledol drwy fentora, deialog feirniadol a chynhyrchu curadurol. Mae datblygiad artistig a gyrfaol pob ymarferydd yn hollbwysig, gan fod y sefydliad yn darparu canllawiau pwrpasol, gwybodaeth a chyfleoedd. Ein gweledigaeth yw cynyddu’r ddarpariaeth ar gyfer cymorth pwrpasol i artistiaid gweledol yn ystod y cyfnod pontio rhwng dechrau a chanol-gyrfa. Trwy gydweithio gan bartneriaid ac unigolion allanol, mae Prosiectau Mark Devereux yn dod a artistiaid, orielau, casglwyr a chynulleidfaoedd yn nes.
ArcadeCardiff 15.5.15 – 23.5.15
NOT SO FIRM AS FADED INK — Nicola Dale
Not so firm as faded ink is a touring exhibition by artist Nicola Dale, questioning the potential of knowledge versus the constraint of information. Commissioned and curated by Mark Devereux Projects, the exhibition visited Centrespace Gallery (Bristol) in April before moving on to Arcadecardiff.
Nicola Dale’s work responds to recent residencies in Shanghai, focusing on its library (2013) and at the National Arts Education Archive at Yorkshire Sculpture Park (2014). Her work visualizes the essence of what knowledge is and its transformation into information in a digital age. Through highlighting the ways in which we expect knowledge to be at our fingertips in our fast-paced society, Dale reduces the pace to consider the parallels between the ways we digest knowledge now and how we did so in the past.
Drawing on a wide range of sources including philosophy, science, literature and education; Dale’s responses are brought together through sculpture, installation and performance. Through investigating and testing each choice of material within her work, Dale has established a visual language allowing audiences to question the ways in which we interact with knowledge.
Pieces within the exhibitions work through ideas concerning how our minds are forever trapped by one set of ideologies or another and have no way to escape. How do we break free from these cages, or can we? Dale also considers the impact of new technologies upon the book as the carrier of knowledge. Is the way in which we digest knowledge reliant on the swipe of a touchscreen? Is this a form of Braille?
With work made over the last eighteen-months; Not so firm as faded ink is the largest exhibition of Dale’s practice to date. To conclude the project and this body of work, Dale was in residence for one-week prior to her exhibition at Arcadecardiff, creating a new work (Black Cloud) in response to the gallery space.
Complementing the exhibition, Mark Devereux Projects have commissioned a new publication featuring notes from the residencies, studio works and final works from the project.
Not so firm as faded ink is funded by Arts Council England and has been developed, supported and commissioned by Mark Devereux Projects.
Further information
Nicola Dale
nicoladale.com
Nicola Dale has exhibited in numerous exhibitions including Manchester Art Gallery’s record-breaking national touring exhibition, The First Cut (Manchester, Nottingham, Southampton, 2012-2014), alongside several commissions for galleries and alternative spaces throughout the UK. Dale has been featured in a variety of publications, plus several public and private collections, including the Tate’s artist book archive. Nicola Dale is Supported by Mark Devereux Projects.
Mark Devereux Projects
markdevereuxprojects.com
Mark Devereux Projects supports visual artists through mentoring, critical dialogue and curatorial production. Each practitioner’s artistic and career development is paramount, as the organisation provides bespoke guidance, information and opportunities. Our vision is to increase the provision for bespoke support to visual artists during the transition from early to mid-career. Through collaboration from external partners and individuals, Mark Devereux Projects aims to bring artists, galleries, collectors and audiences closer.
Mae ‘Nid mor gadarn ag y inc wedi ei pylu’ yn arddangosfa deithiol gan yr artist Nicola Dale sy’n cwestiynu potensial wybodaeth yn erbyn y cyfyngiad o wybodaeth. Mae’r prosiect wedi ei gomisiynu a guradwyd gan Prosiectau Mark Devereux, ymwelodd â’r arddangosfa Oriel Centrespace (Bryste) ym mis Ebrill cyn symud ymlaen Arcadecardiff.
Mae Gwaith Nicola Dale yn ymateb i preswyliadau diweddar yn Shanghai, gan ganolbwyntio ar ei lyfrgell (2013) ac yn yr Archif Addysg Celfyddydau Cenedlaethol ym parc cerfluniau Swydd Efrog (2014). Mae ei gwaith yn darlunio’r hyn a yw hanfod gwybodaeth ac ei drawsnewidiad i mewn i wybodaeth mewn oes ddigidol. Drwy dynnu sylw at y ffyrdd yr ydym yn disgwyl i wybodaeth fod ar ein bysedd yn ein cymdeithas gyflym, mae Dale yn lleihau’r cyflymder i ystyried y tebygrwydd rhwng y ffyrdd yr ydym yn treulio wybodaeth bellach a sut yr oedd a ni yn gwneud hynny yn y gorffennol.
Gan dynnu ar ffynonellau eang gan gynnwys athroniaeth, gwyddoniaeth, llenyddiaeth ac addysg; mae ymatebion Dale yn cael eu dwyn at ei gilydd drwy cerflun, gosodiadau a pherfformiad. Drwy ymchwilio a phrofi pob dewis o ddeunydd o fewn ei gwaith, mae Dale wedi sefydlu iaith weledol sy’n caniatáu cynulleidfaoedd i holi’r ffyrdd yr ydym yn rhyngweithio gyda gwybodaeth.
Mae Darnau o fewn yr arddangosfeydd yn gweithio trwy syniadau sy’n ymwneud â sut y mae ein meddyliau yn cael eu dal am byth gan un set o ideolegau neu’r llall ac nad oes gennyn ffordd i ddianc. Sut rydym yn torri rhydd o’r gewyll hyn, neu gallwn ni? Mae Dale hefyd yn ystyried effaith technolegau newydd ar y llyfr fel y cludwr o wybodaeth. A yw’r ffordd yr ydym yn treulio gwybodaeth dibynnu ar y sweip o touchscreen? A yw hyn yn fath o Braille?
Gyda gwaith a wnaed dros y deunaw mis diwethaf; Nid mor gadarn ag y inc wedi ei pylu yw’r arddangosfa fwyaf o arferion Dale hyd yma. I gloi y prosiect a chorff hwn o waith, roedd Dale yn preswyl ar gyfer un-wythnos cyn iddi arddangosfa yn Arcadecardiff, gan greu gwaith newydd (Y cwmwl du) mewn ymateb i’r oriel.
I ategu’r arddangosfa, mae Prosiectau Mark Devereux wedi comisiynu cyhoeddiad newydd yn cynnwys nodiadau gan y preswyliadau, gwaith stiwdio a gwaith terfynol o’r prosiect.
Nid mor gadarn ag y inc wedi ei pylu’ yn cael ei ariannu gan Gyngor Celfyddydau Lloegr ac wedi cael ei ddatblygu, a gefnogir ac a gomisiynwyd gan Prosiectau Mark Devereux.
Gwybodaeth bellach
Nicola Dale
nicoladale.com
Mae Nicola Dale wedi arddangos mewn nifer o arddangosfeydd gan gynnwys arddangosfa Oriel Gelf Manceinion a dorrodd record genedlaethol teithiol, Y Trych Cyntaf (Manceinion, Nottingham, Southampton, 2012-2014), ochr yn ochr â nifer o gomisiynau ar gyfer orielau a mannau eraill ledled y DU. Mae Dale wedi ymddangos mewn nifer o gyhoeddiadau, yn ogystal â nifer o gasgliadau cyhoeddus a phreifat, gan gynnwys archif llyfr artists y Tate. Mae Nicola Dale yn cael chefnogaeth gan Mark Devereux Prosiectau.
Prosiectiau Mark Devereux
markdevereuxprojects.com
Mae Prosiectau Mark Devereux yn cefnogi artistiaid gweledol drwy fentora, deialog feirniadol a chynhyrchu curadurol. Mae datblygiad artistig a gyrfaol pob ymarferydd yn hollbwysig, gan fod y sefydliad yn darparu canllawiau pwrpasol, gwybodaeth a chyfleoedd. Ein gweledigaeth yw cynyddu’r ddarpariaeth ar gyfer cymorth pwrpasol i artistiaid gweledol yn ystod y cyfnod pontio rhwng dechrau a chanol-gyrfa. Trwy gydweithio gan bartneriaid ac unigolion allanol, mae Prosiectau Mark Devereux yn dod a artistiaid, orielau, casglwyr a chynulleidfaoedd yn nes.
NOT SO FIRM AS FADED INK — Nicola Dale
Not so firm as faded ink is a touring exhibition by artist Nicola Dale, questioning the potential of knowledge versus the constraint of information. Commissioned and curated by Mark Devereux Projects, the exhibition visited Centrespace Gallery (Bristol) in April before moving on to Arcadecardiff.
Nicola Dale’s work responds to recent residencies in Shanghai, focusing on its library (2013) and at the National Arts Education Archive at Yorkshire Sculpture Park (2014). Her work visualizes the essence of what knowledge is and its transformation into information in a digital age. Through highlighting the ways in which we expect knowledge to be at our fingertips in our fast-paced society, Dale reduces the pace to consider the parallels between the ways we digest knowledge now and how we did so in the past.
Drawing on a wide range of sources including philosophy, science, literature and education; Dale’s responses are brought together through sculpture, installation and performance. Through investigating and testing each choice of material within her work, Dale has established a visual language allowing audiences to question the ways in which we interact with knowledge.
Pieces within the exhibitions work through ideas concerning how our minds are forever trapped by one set of ideologies or another and have no way to escape. How do we break free from these cages, or can we? Dale also considers the impact of new technologies upon the book as the carrier of knowledge. Is the way in which we digest knowledge reliant on the swipe of a touchscreen? Is this a form of Braille?
With work made over the last eighteen-months; Not so firm as faded ink is the largest exhibition of Dale’s practice to date. To conclude the project and this body of work, Dale was in residence for one-week prior to her exhibition at Arcadecardiff, creating a new work (Black Cloud) in response to the gallery space.
Complementing the exhibition, Mark Devereux Projects have commissioned a new publication featuring notes from the residencies, studio works and final works from the project.
Not so firm as faded ink is funded by Arts Council England and has been developed, supported and commissioned by Mark Devereux Projects.
Further information
Nicola Dale
nicoladale.com
Nicola Dale has exhibited in numerous exhibitions including Manchester Art Gallery’s record-breaking national touring exhibition, The First Cut (Manchester, Nottingham, Southampton, 2012-2014), alongside several commissions for galleries and alternative spaces throughout the UK. Dale has been featured in a variety of publications, plus several public and private collections, including the Tate’s artist book archive. Nicola Dale is Supported by Mark Devereux Projects.
Mark Devereux Projects
markdevereuxprojects.com
Mark Devereux Projects supports visual artists through mentoring, critical dialogue and curatorial production. Each practitioner’s artistic and career development is paramount, as the organisation provides bespoke guidance, information and opportunities. Our vision is to increase the provision for bespoke support to visual artists during the transition from early to mid-career. Through collaboration from external partners and individuals, Mark Devereux Projects aims to bring artists, galleries, collectors and audiences closer.
Mae ‘Nid mor gadarn ag y inc wedi ei pylu’ yn arddangosfa deithiol gan yr artist Nicola Dale sy’n cwestiynu potensial wybodaeth yn erbyn y cyfyngiad o wybodaeth. Mae’r prosiect wedi ei gomisiynu a guradwyd gan Prosiectau Mark Devereux, ymwelodd â’r arddangosfa Oriel Centrespace (Bryste) ym mis Ebrill cyn symud ymlaen Arcadecardiff.
Mae Gwaith Nicola Dale yn ymateb i preswyliadau diweddar yn Shanghai, gan ganolbwyntio ar ei lyfrgell (2013) ac yn yr Archif Addysg Celfyddydau Cenedlaethol ym parc cerfluniau Swydd Efrog (2014). Mae ei gwaith yn darlunio’r hyn a yw hanfod gwybodaeth ac ei drawsnewidiad i mewn i wybodaeth mewn oes ddigidol. Drwy dynnu sylw at y ffyrdd yr ydym yn disgwyl i wybodaeth fod ar ein bysedd yn ein cymdeithas gyflym, mae Dale yn lleihau’r cyflymder i ystyried y tebygrwydd rhwng y ffyrdd yr ydym yn treulio wybodaeth bellach a sut yr oedd a ni yn gwneud hynny yn y gorffennol.
Gan dynnu ar ffynonellau eang gan gynnwys athroniaeth, gwyddoniaeth, llenyddiaeth ac addysg; mae ymatebion Dale yn cael eu dwyn at ei gilydd drwy cerflun, gosodiadau a pherfformiad. Drwy ymchwilio a phrofi pob dewis o ddeunydd o fewn ei gwaith, mae Dale wedi sefydlu iaith weledol sy’n caniatáu cynulleidfaoedd i holi’r ffyrdd yr ydym yn rhyngweithio gyda gwybodaeth.
Mae Darnau o fewn yr arddangosfeydd yn gweithio trwy syniadau sy’n ymwneud â sut y mae ein meddyliau yn cael eu dal am byth gan un set o ideolegau neu’r llall ac nad oes gennyn ffordd i ddianc. Sut rydym yn torri rhydd o’r gewyll hyn, neu gallwn ni? Mae Dale hefyd yn ystyried effaith technolegau newydd ar y llyfr fel y cludwr o wybodaeth. A yw’r ffordd yr ydym yn treulio gwybodaeth dibynnu ar y sweip o touchscreen? A yw hyn yn fath o Braille?
Gyda gwaith a wnaed dros y deunaw mis diwethaf; Nid mor gadarn ag y inc wedi ei pylu yw’r arddangosfa fwyaf o arferion Dale hyd yma. I gloi y prosiect a chorff hwn o waith, roedd Dale yn preswyl ar gyfer un-wythnos cyn iddi arddangosfa yn Arcadecardiff, gan greu gwaith newydd (Y cwmwl du) mewn ymateb i’r oriel.
I ategu’r arddangosfa, mae Prosiectau Mark Devereux wedi comisiynu cyhoeddiad newydd yn cynnwys nodiadau gan y preswyliadau, gwaith stiwdio a gwaith terfynol o’r prosiect.
Nid mor gadarn ag y inc wedi ei pylu’ yn cael ei ariannu gan Gyngor Celfyddydau Lloegr ac wedi cael ei ddatblygu, a gefnogir ac a gomisiynwyd gan Prosiectau Mark Devereux.
Gwybodaeth bellach
Nicola Dale
nicoladale.com
Mae Nicola Dale wedi arddangos mewn nifer o arddangosfeydd gan gynnwys arddangosfa Oriel Gelf Manceinion a dorrodd record genedlaethol teithiol, Y Trych Cyntaf (Manceinion, Nottingham, Southampton, 2012-2014), ochr yn ochr â nifer o gomisiynau ar gyfer orielau a mannau eraill ledled y DU. Mae Dale wedi ymddangos mewn nifer o gyhoeddiadau, yn ogystal â nifer o gasgliadau cyhoeddus a phreifat, gan gynnwys archif llyfr artists y Tate. Mae Nicola Dale yn cael chefnogaeth gan Mark Devereux Prosiectau.
Prosiectiau Mark Devereux
markdevereuxprojects.com
Mae Prosiectau Mark Devereux yn cefnogi artistiaid gweledol drwy fentora, deialog feirniadol a chynhyrchu curadurol. Mae datblygiad artistig a gyrfaol pob ymarferydd yn hollbwysig, gan fod y sefydliad yn darparu canllawiau pwrpasol, gwybodaeth a chyfleoedd. Ein gweledigaeth yw cynyddu’r ddarpariaeth ar gyfer cymorth pwrpasol i artistiaid gweledol yn ystod y cyfnod pontio rhwng dechrau a chanol-gyrfa. Trwy gydweithio gan bartneriaid ac unigolion allanol, mae Prosiectau Mark Devereux yn dod a artistiaid, orielau, casglwyr a chynulleidfaoedd yn nes.
ArcadeCardiff 29.1.15 – 14.2.15
SETS - Phil King
Curated by / Curadu gan Pascal-Michel Dubois
Phil King wedi datblygu corff o baentiadau sy’n caniatáu iddo gyflwyno ‘ gasgliadau ‘ gwahanol sy’n gweithio i ddadbacio syniadau Celfyddyd Fodern . Mae’n awdur ar gelf sydd wedi cyhoeddi nifer o draethodau ar ei gyfoeswyr artistig yn ddiweddar mae wedi cwblhau gyfieithiad newydd o lyfr Jean Genet ar Giacometti.
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Phil King has developed a body of paintings which allow him to present different ‘collections’ that work to unpack ideas of Modern Art. A writer on art who has published a number of essays on his artistic contemporaries he has recently completed a new translation of Jean Genet’s book on Giacometti…
Phil King: “SETS”
Careful to put things together, lots of thought going into the groups of work, but also an openness that makes it silly for me to ask the question “what is this about”? And yet in lived space I’m just fine with things everywhere – prefer it in order to see the juxtaposition of things – unexpected relevance’s and pairings and contrasts. Leaving things loose and open; in-between. I think that I have learned something from looking at lots of art and reading philosophy but also that such looking and thinking put me in touch with my own changing habits and habitats.
I took to generally laying out my paintings in groups of three a few years ago. “Sets” is a result of that.
I’m interested in the way that such sets indicate possible bodies of work; different fortunes. Like dealing cards in a way. Putting them together makes different things happen, there’s an element of chance that resonates with the spontaneous elements of the painting itself. I’m interested in the fluid nature of that, the possible event of it, in surprise, attempting to control or contain that in single canvases, as a state, wouldn’t interest me so much. I’m interested in how collections and collectors work, the collective as part of the nature of individual painting. I’m interested in arrangement and placing and work from a position of doubt, doubt that painting itself is even possible, yet find each painting, each grouping, as a surprise that can provokes any number of different stories and yet fail to fulfill any of them.
Having been brought up in England and France with Welsh grandmothers I have come to understand my work as one of passage between states and languages, I have recently returned from living and working in California where I found the underlying collisions of cultural influences and languages of great impact under the general United States integration policy.
I’ve found my way to a kind of display that suits and pushes a tendency to paint and make things in a range of different ways, a way of thinking that makes reliable identity problematic. And it draws attention to how art in general is put together, how its questionable and creative nature might work in an age dominated by the needs of investment and efficient results. It’s the sense of different artists with different focuses working together at the highest pitch that I find inspirational; in Cézanne for example I find an artist whose unity is just another part of what their paintings do. My work in general tries to dig out the unexpected and unknown aspect of art history, to mine for gold.
SETS - Phil King
Curated by / Curadu gan Pascal-Michel Dubois
Phil King wedi datblygu corff o baentiadau sy’n caniatáu iddo gyflwyno ‘ gasgliadau ‘ gwahanol sy’n gweithio i ddadbacio syniadau Celfyddyd Fodern . Mae’n awdur ar gelf sydd wedi cyhoeddi nifer o draethodau ar ei gyfoeswyr artistig yn ddiweddar mae wedi cwblhau gyfieithiad newydd o lyfr Jean Genet ar Giacometti.
****
Phil King has developed a body of paintings which allow him to present different ‘collections’ that work to unpack ideas of Modern Art. A writer on art who has published a number of essays on his artistic contemporaries he has recently completed a new translation of Jean Genet’s book on Giacometti…
Phil King: “SETS”
Careful to put things together, lots of thought going into the groups of work, but also an openness that makes it silly for me to ask the question “what is this about”? And yet in lived space I’m just fine with things everywhere – prefer it in order to see the juxtaposition of things – unexpected relevance’s and pairings and contrasts. Leaving things loose and open; in-between. I think that I have learned something from looking at lots of art and reading philosophy but also that such looking and thinking put me in touch with my own changing habits and habitats.
I took to generally laying out my paintings in groups of three a few years ago. “Sets” is a result of that.
I’m interested in the way that such sets indicate possible bodies of work; different fortunes. Like dealing cards in a way. Putting them together makes different things happen, there’s an element of chance that resonates with the spontaneous elements of the painting itself. I’m interested in the fluid nature of that, the possible event of it, in surprise, attempting to control or contain that in single canvases, as a state, wouldn’t interest me so much. I’m interested in how collections and collectors work, the collective as part of the nature of individual painting. I’m interested in arrangement and placing and work from a position of doubt, doubt that painting itself is even possible, yet find each painting, each grouping, as a surprise that can provokes any number of different stories and yet fail to fulfill any of them.
Having been brought up in England and France with Welsh grandmothers I have come to understand my work as one of passage between states and languages, I have recently returned from living and working in California where I found the underlying collisions of cultural influences and languages of great impact under the general United States integration policy.
I’ve found my way to a kind of display that suits and pushes a tendency to paint and make things in a range of different ways, a way of thinking that makes reliable identity problematic. And it draws attention to how art in general is put together, how its questionable and creative nature might work in an age dominated by the needs of investment and efficient results. It’s the sense of different artists with different focuses working together at the highest pitch that I find inspirational; in Cézanne for example I find an artist whose unity is just another part of what their paintings do. My work in general tries to dig out the unexpected and unknown aspect of art history, to mine for gold.
ArcadeCardiff 20.2.15– 7.3.15
By deFault - Nikita McBride
My artistic practice explores the theme of boundaries and limitations enacted through building structures that imply entrapment and engage with the notion of mobility and transience. My work explores the interdisciplinary format that comprises collage, photography, sculpture and video. The diverse artistic interests within my practice are regularly manifested through an installation context that is site-specific and addresses the architectural and aesthetic parameters of the exhibition space, in a manner in which it can evoke and convey the main concerns in my work. These concerns are primarily subjective issues around displacement, human behaviour, desire, aspirations, conflicts and contradictions.
In my work I use materials that make reference to both male and female labour such as sandbags, domestic objects and female garments, signalling an inversion of the traditional perception of gender roles, identity and placement. The play between hard and soft materials serve as a perpetual reminder of the fragility of the body and its struggle to move beyond barriers imposed by different spaces, institutions, ideologies or its own failures.
Mae fy ymarfer artistig yn archwilio’r thema o ffiniau a chyfyngiadau deddfu drwy strwythurau adeiladu sy’n awgrymu caethiwo ac yn ymgysylltu â’r syniad o symudedd a byrhoedledd. Mae fy ngwaith yn archwilio’r fformat rhyngddisgyblaethol sy’n cynnwys collage, ffotograffiaeth, cerfluniau a fideo . Mae buddiannau artistig amrywiol o fewn fy ymarfer yn cael eu hamlygu yn rheolaidd trwy gyd-destun gosodiad sydd yn safle-benodol ac yn mynd i’r afael â’r paramedrau pensaernïol ac esthetig y gwagle yn y arddangos, mewn modd fydd yn ennyn ac yn cyfleu’r prif bryderon yn fy ngwaith. Mae’r pryderon hyn yn faterion goddrychol yn bennaf o amgylch dadleoliad, ymddygiad dynol, awydd, dyheadau, gwrthdaro a gwrthddywediadau. Yn fy ngwaith Rwy’n defnyddio deunyddiau sy’n cyfeirio at y llafur gwrywaidd ac benywaidd fel bagiau tywod gwrthrychau domestig a dillad merched, signalau yn gwrthdroad o’r canfyddiad traddodiadol o rolau rhywedd, hunaniaeth a lleoliadau.Mae chwarae rhwng deunyddiau chaled a meddal yn gwasanaethu fel atgof parhaol o freuder y corff a’i ymdrech i symud tu hwnt i rwystrau a osodir gan fannau gwahanol, sefydliadau, ideolegau neu ei fethiannau ei hun.
By deFault - Nikita McBride
My artistic practice explores the theme of boundaries and limitations enacted through building structures that imply entrapment and engage with the notion of mobility and transience. My work explores the interdisciplinary format that comprises collage, photography, sculpture and video. The diverse artistic interests within my practice are regularly manifested through an installation context that is site-specific and addresses the architectural and aesthetic parameters of the exhibition space, in a manner in which it can evoke and convey the main concerns in my work. These concerns are primarily subjective issues around displacement, human behaviour, desire, aspirations, conflicts and contradictions.
In my work I use materials that make reference to both male and female labour such as sandbags, domestic objects and female garments, signalling an inversion of the traditional perception of gender roles, identity and placement. The play between hard and soft materials serve as a perpetual reminder of the fragility of the body and its struggle to move beyond barriers imposed by different spaces, institutions, ideologies or its own failures.
Mae fy ymarfer artistig yn archwilio’r thema o ffiniau a chyfyngiadau deddfu drwy strwythurau adeiladu sy’n awgrymu caethiwo ac yn ymgysylltu â’r syniad o symudedd a byrhoedledd. Mae fy ngwaith yn archwilio’r fformat rhyngddisgyblaethol sy’n cynnwys collage, ffotograffiaeth, cerfluniau a fideo . Mae buddiannau artistig amrywiol o fewn fy ymarfer yn cael eu hamlygu yn rheolaidd trwy gyd-destun gosodiad sydd yn safle-benodol ac yn mynd i’r afael â’r paramedrau pensaernïol ac esthetig y gwagle yn y arddangos, mewn modd fydd yn ennyn ac yn cyfleu’r prif bryderon yn fy ngwaith. Mae’r pryderon hyn yn faterion goddrychol yn bennaf o amgylch dadleoliad, ymddygiad dynol, awydd, dyheadau, gwrthdaro a gwrthddywediadau. Yn fy ngwaith Rwy’n defnyddio deunyddiau sy’n cyfeirio at y llafur gwrywaidd ac benywaidd fel bagiau tywod gwrthrychau domestig a dillad merched, signalau yn gwrthdroad o’r canfyddiad traddodiadol o rolau rhywedd, hunaniaeth a lleoliadau.Mae chwarae rhwng deunyddiau chaled a meddal yn gwasanaethu fel atgof parhaol o freuder y corff a’i ymdrech i symud tu hwnt i rwystrau a osodir gan fannau gwahanol, sefydliadau, ideolegau neu ei fethiannau ei hun.
ArcadeCardiff - 20.3.15 – 4.4.15
WE DON’T KNOW WHAT WILL HAPPEN?
An exhibition Which plays with fun, randomness, chance, chaos and order..........
The title fits the description and what will actually happen? you will have to come and find out...........
Bevis Fenner
Paul Kindersley
Mark Scott-wood
Jock Mooney
Barrie J Davies
An exhibition Curated by the artist Barrie J.Davies
Chaos is the total lack of organisation, and is characterised by disorder. Chaos is ubiquitous, and we humans are uncomfortable with the notion of a seemingly random universe with no discernible pattern or logic. We do not like disorder or chaos, and this is evidenced in our ceaseless necessity to categorise everything into clearly defined and explainable compartments. And when an unexplainable phenomenon presents itself, we turn to religion for answers to the innumerable mysteries that abound. “People need to believe that order can be glimpsed in the chaos of events” (Gray). However, as attested throughout history, these brief glimpses of order have turned out to be erroneous, and rather than providing knowledge, have merely perpetuated our ignorance. Several knowledge issues then arise: Why do we need order, and can the true order of things be apprehended? Do these glimpses serve a purpose even when they are erroneous must be asked? Is it enough that people believe they have glimpsed order?
‘Dani ddim yn gwybod beth fydd yn digwydd”
Llun gwaith gelf gan Bevis Fenner ” Violence of Complicity” 2015
Anhrefn yw cyfanswm y diffyg sefydliad, ac yn cael ei nodweddi gan anhrefn. Mae Anhrefn yn hollbresennol, ac mae pobl yn anghyfforddus gyda’r syniad o bydysawd sydd yn ymddangos fel mae o ar hap heb unrhyw batrwm neu resymeg amlwg. Nid ydym yn hoffi anhrefn, ac mae yna dystiolaeth yn ein rheidrwydd dibaid i gategoreiddio popeth i mewn i adrannau wedi’u diffinio’n glir ac ei hegluro. A phan mae ffenomen anesboniadwy yn cyflwyno ei hun, rydym yn troi at grefydd am atebion i’r dirgelion dirifedi sy’n ffynnu. “Mae angen i bobl i coilio fod y gellir cipolwg ar ordor yn gedru cael ei weld drwy yr anhrefn o ddigwyddiadau” (Gray). Ond gallant dweud, fel y ardystio drwy gydol hanes, mae’r rhain cipolwg byr o drefn wedi troi allan i fod yn anghywir, ac yn hytrach na darparu gwybodaeth, dim ond wedi parhau ein hanwybodaeth. Mae nifer o faterion wybodaeth yna yn codi: Pam mae angen ordor? a gall gwir drefn o bethau yn cael eu ddal? A yw cipolwg hyn yn gwasanaethu diben, hyd yn oed pan fyddant yn wallus rhaid gofyn? A yw’n ddigon bod pobl yn credu eu bod wedi cael cipolwg ar orchymyn?
WE DON’T KNOW WHAT WILL HAPPEN?
An exhibition Which plays with fun, randomness, chance, chaos and order..........
The title fits the description and what will actually happen? you will have to come and find out...........
Bevis Fenner
Paul Kindersley
Mark Scott-wood
Jock Mooney
Barrie J Davies
An exhibition Curated by the artist Barrie J.Davies
Chaos is the total lack of organisation, and is characterised by disorder. Chaos is ubiquitous, and we humans are uncomfortable with the notion of a seemingly random universe with no discernible pattern or logic. We do not like disorder or chaos, and this is evidenced in our ceaseless necessity to categorise everything into clearly defined and explainable compartments. And when an unexplainable phenomenon presents itself, we turn to religion for answers to the innumerable mysteries that abound. “People need to believe that order can be glimpsed in the chaos of events” (Gray). However, as attested throughout history, these brief glimpses of order have turned out to be erroneous, and rather than providing knowledge, have merely perpetuated our ignorance. Several knowledge issues then arise: Why do we need order, and can the true order of things be apprehended? Do these glimpses serve a purpose even when they are erroneous must be asked? Is it enough that people believe they have glimpsed order?
‘Dani ddim yn gwybod beth fydd yn digwydd”
Llun gwaith gelf gan Bevis Fenner ” Violence of Complicity” 2015
Anhrefn yw cyfanswm y diffyg sefydliad, ac yn cael ei nodweddi gan anhrefn. Mae Anhrefn yn hollbresennol, ac mae pobl yn anghyfforddus gyda’r syniad o bydysawd sydd yn ymddangos fel mae o ar hap heb unrhyw batrwm neu resymeg amlwg. Nid ydym yn hoffi anhrefn, ac mae yna dystiolaeth yn ein rheidrwydd dibaid i gategoreiddio popeth i mewn i adrannau wedi’u diffinio’n glir ac ei hegluro. A phan mae ffenomen anesboniadwy yn cyflwyno ei hun, rydym yn troi at grefydd am atebion i’r dirgelion dirifedi sy’n ffynnu. “Mae angen i bobl i coilio fod y gellir cipolwg ar ordor yn gedru cael ei weld drwy yr anhrefn o ddigwyddiadau” (Gray). Ond gallant dweud, fel y ardystio drwy gydol hanes, mae’r rhain cipolwg byr o drefn wedi troi allan i fod yn anghywir, ac yn hytrach na darparu gwybodaeth, dim ond wedi parhau ein hanwybodaeth. Mae nifer o faterion wybodaeth yna yn codi: Pam mae angen ordor? a gall gwir drefn o bethau yn cael eu ddal? A yw cipolwg hyn yn gwasanaethu diben, hyd yn oed pan fyddant yn wallus rhaid gofyn? A yw’n ddigon bod pobl yn credu eu bod wedi cael cipolwg ar orchymyn?
ArcadeCardiff - 9.3.15 – 14.3.15
Parameters - TEMMAH
Artists statement
An experimental performance with 6 exoskeleton arms, attached together with a bendable sprung backbone with brushes bolted to the end of the arms that are dipped in to four buckets of Grey matt-emulsion and then in gestured body movements the exoskeleton applies the paint directly to the walls of the arcade shop space.
‘When wearing this exoskeleton one is reacquainted with the ability of the movement the human body and its capability to make elaborate jesters, also how the body is forced to redefine its parameters with the integration of this new found skin’.
In contemporary western culture it is not deemed unusual to communicate only using the means of social networking sites, email or mobile phones. Through these means communication has become more accessible; however there are some senses in the wake of technological advancement which are becoming obsolete to communication, such as touch and smell, (face to face contact). This performance aims to experiment with the human body’s parameters and its awareness of the prosthetics’ and the identifiable imprint that resonates upon our environment.
Datganiad Artist:
Perfformiad arbrofol gan ddefnyddio allsgwerbwd gyda 6 fraich, yn sownd ynghyd â asgwrn cefn sbring plygiedig gyda brwsys wedi ei bolltio at ddiwedd y breichiau sy’n cael eu trochi mewn i bedwar bwced o emwlsiwn llwyd ac yna mewn symudiadau corfforol sydd yn cael ei ystumio fydd yr allsgwerbwd yn cymhwyso’r paent syth a’r waliau ty fewn safle siop yr arcêd.
‘Fel mae un yn wisgo’r allsgerbwd maen’t yn ailgyfarfod allu mudiad yr corff dynol ac ei gallu i wneud digrifwyr cywrain, hefyd sut mae’r corff yn cael ei orfodi i ailddiffinio ei baramedrau efo’r integreiddiad hwn a’r groen newydd yma’.
Mewn diwylliant gorllewinol cyfoes nid yw’n cael ei ystyried yn anarferol i gyfathrebu yn unig wrth ddefnyddio dull o safleoedd rhwydweithio cymdeithasol, e-bost neu ffonau symudol. Drwy’r dulliau hyn mae cyfathrebu wedi dod yn fwy hygyrch; ond mewn ddefroai datblygiad technolegol mae rhai synhwyrau yn ddod i darfod ar y ffyrdd newydd o gyfathrebu, megis cyffwrdd ac arogli, (cyswllt wyneb i wyneb). Mae’r perfformiad hwn yn anelu i arbrofi gyda paramedrau y corff dynol a’i hymwybyddiaeth o’r prostheteg a’r argraffnod adnabyddadwy sy’n cyseinio ar ein hamgylchedd.
Parameters - TEMMAH
Artists statement
An experimental performance with 6 exoskeleton arms, attached together with a bendable sprung backbone with brushes bolted to the end of the arms that are dipped in to four buckets of Grey matt-emulsion and then in gestured body movements the exoskeleton applies the paint directly to the walls of the arcade shop space.
‘When wearing this exoskeleton one is reacquainted with the ability of the movement the human body and its capability to make elaborate jesters, also how the body is forced to redefine its parameters with the integration of this new found skin’.
In contemporary western culture it is not deemed unusual to communicate only using the means of social networking sites, email or mobile phones. Through these means communication has become more accessible; however there are some senses in the wake of technological advancement which are becoming obsolete to communication, such as touch and smell, (face to face contact). This performance aims to experiment with the human body’s parameters and its awareness of the prosthetics’ and the identifiable imprint that resonates upon our environment.
Datganiad Artist:
Perfformiad arbrofol gan ddefnyddio allsgwerbwd gyda 6 fraich, yn sownd ynghyd â asgwrn cefn sbring plygiedig gyda brwsys wedi ei bolltio at ddiwedd y breichiau sy’n cael eu trochi mewn i bedwar bwced o emwlsiwn llwyd ac yna mewn symudiadau corfforol sydd yn cael ei ystumio fydd yr allsgwerbwd yn cymhwyso’r paent syth a’r waliau ty fewn safle siop yr arcêd.
‘Fel mae un yn wisgo’r allsgerbwd maen’t yn ailgyfarfod allu mudiad yr corff dynol ac ei gallu i wneud digrifwyr cywrain, hefyd sut mae’r corff yn cael ei orfodi i ailddiffinio ei baramedrau efo’r integreiddiad hwn a’r groen newydd yma’.
Mewn diwylliant gorllewinol cyfoes nid yw’n cael ei ystyried yn anarferol i gyfathrebu yn unig wrth ddefnyddio dull o safleoedd rhwydweithio cymdeithasol, e-bost neu ffonau symudol. Drwy’r dulliau hyn mae cyfathrebu wedi dod yn fwy hygyrch; ond mewn ddefroai datblygiad technolegol mae rhai synhwyrau yn ddod i darfod ar y ffyrdd newydd o gyfathrebu, megis cyffwrdd ac arogli, (cyswllt wyneb i wyneb). Mae’r perfformiad hwn yn anelu i arbrofi gyda paramedrau y corff dynol a’i hymwybyddiaeth o’r prostheteg a’r argraffnod adnabyddadwy sy’n cyseinio ar ein hamgylchedd.
ArcadeCardiff 24.4.15 – 9.5.15
Geraint Evans A Hermit in Suburbia. 24.04.15 – 9.05.15
Geraint Evans is interested in the ways in which we perceive, encounter and experience the natural world and read it as landscape. His figurative paintings employ a stylized pictorial language to explore the idea that landscape is largely a social and cultural construct, responding to the writer W J T Mitchell’s observation that: “Landscape is a natural scene mediated by culture.”
His work depicts manicured or fabricated gardens and parks, shopping malls and suburban green belts, national parks and theme parks. The fictional protagonists that populate these landscapes include heavy metal campers, nudist hikers and ornamental hermits.
Geraint is interested in both the hybridized space in which the built and natural environments meet and in our complex perception of the wilderness. The effect of ever evolving technologies and mass tourism on our relationship with the natural world is another important aspect of his practice.
Mae Geraint Evans efo ddiddordeb yn y ffyrdd yr ydym yn canfod, yn dod ar draws a chael profiad o’r byd naturiol a’i ddarllen fel tirwedd. Mae ei baentiadau ffigurol cyflogi iaith darluniadol arddulliedig i archwilio’r syniad bod tirwedd lluniad cymdeithasol a diwylliannol yn bennaf, gan ymateb i’r awdur arsylwi WJT Mitchell bod: “. Tirwedd yn olygfa naturiol gyfryngu gan ddiwylliant”
Mae ei waith yn darlunio gerddi taclus neu ffug a pharciau, canolfannau siopa a gwregysau gwyrdd maestrefol, parciau cenedlaethol a pharciau thema. Mae’r prif gymeriadau ffuglennol sy’n poblogi’r tirweddau hyn yn cynnwys gwersyllwyr metel trwm, cerddwyr noeth a meudwyaid addurniadol.
Mae Geraint yn ymddiddori yn y gofod cymysgrywaidd lle mae’r amgylcheddau adeiledig a naturiol yn cyfarfod ac yn ein canfyddiad cymhleth yr wylltineb. Erioed mae effaith o datblygu technolegau a thwristiaeth mas ar ein perthynas â’r byd naturiol yn agwedd bwysig arall o’i waith.
Geraint Evans A Hermit in Suburbia. 24.04.15 – 9.05.15
Geraint Evans is interested in the ways in which we perceive, encounter and experience the natural world and read it as landscape. His figurative paintings employ a stylized pictorial language to explore the idea that landscape is largely a social and cultural construct, responding to the writer W J T Mitchell’s observation that: “Landscape is a natural scene mediated by culture.”
His work depicts manicured or fabricated gardens and parks, shopping malls and suburban green belts, national parks and theme parks. The fictional protagonists that populate these landscapes include heavy metal campers, nudist hikers and ornamental hermits.
Geraint is interested in both the hybridized space in which the built and natural environments meet and in our complex perception of the wilderness. The effect of ever evolving technologies and mass tourism on our relationship with the natural world is another important aspect of his practice.
Mae Geraint Evans efo ddiddordeb yn y ffyrdd yr ydym yn canfod, yn dod ar draws a chael profiad o’r byd naturiol a’i ddarllen fel tirwedd. Mae ei baentiadau ffigurol cyflogi iaith darluniadol arddulliedig i archwilio’r syniad bod tirwedd lluniad cymdeithasol a diwylliannol yn bennaf, gan ymateb i’r awdur arsylwi WJT Mitchell bod: “. Tirwedd yn olygfa naturiol gyfryngu gan ddiwylliant”
Mae ei waith yn darlunio gerddi taclus neu ffug a pharciau, canolfannau siopa a gwregysau gwyrdd maestrefol, parciau cenedlaethol a pharciau thema. Mae’r prif gymeriadau ffuglennol sy’n poblogi’r tirweddau hyn yn cynnwys gwersyllwyr metel trwm, cerddwyr noeth a meudwyaid addurniadol.
Mae Geraint yn ymddiddori yn y gofod cymysgrywaidd lle mae’r amgylcheddau adeiledig a naturiol yn cyfarfod ac yn ein canfyddiad cymhleth yr wylltineb. Erioed mae effaith o datblygu technolegau a thwristiaeth mas ar ein perthynas â’r byd naturiol yn agwedd bwysig arall o’i waith.
ArcadeCardiff 10.4.15 – 11.4.15
Blister Cinema #2 - Genetic Moo
Yn Sinema bothell # 2 byddwch yn cael eich crebachu i faint o facteria a dechrau daith ffantastig tu mewn bothell dynol rhyngweithiol.
Mae Sinema bothell # 2 wedi cael ei greu gan artistiaid Genetig Moo mewn cydweithrediad â gwyddonydd Dr Neil Dufton . Ar ddydd Sadwrn , gallwch ddysgu am y wyddoniaeth o enyniad , adeiladu cromen a thechnegau o codio’n greadigol .
Mae’r prosiect hwn yn gomisiwn Prosiectau Animeiddio a gefnogir gan Welcome Trust.
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In Blister Cinema #2 you will be shrunk to the size of a bacteria and begin a fantastic voyage inside an interactive human blister.
Blister Cinema #2 has been created by artists Genetic Moo in collaboration with scientist Dr Neil Dufton. On Saturday you can learn about the science of inflammation, dome construction and creative coding techniques.The project is an Animate Projects commission supported by the Wellcome Trust.
Blister Cinema #2 - Genetic Moo
Yn Sinema bothell # 2 byddwch yn cael eich crebachu i faint o facteria a dechrau daith ffantastig tu mewn bothell dynol rhyngweithiol.
Mae Sinema bothell # 2 wedi cael ei greu gan artistiaid Genetig Moo mewn cydweithrediad â gwyddonydd Dr Neil Dufton . Ar ddydd Sadwrn , gallwch ddysgu am y wyddoniaeth o enyniad , adeiladu cromen a thechnegau o codio’n greadigol .
Mae’r prosiect hwn yn gomisiwn Prosiectau Animeiddio a gefnogir gan Welcome Trust.
******
In Blister Cinema #2 you will be shrunk to the size of a bacteria and begin a fantastic voyage inside an interactive human blister.
Blister Cinema #2 has been created by artists Genetic Moo in collaboration with scientist Dr Neil Dufton. On Saturday you can learn about the science of inflammation, dome construction and creative coding techniques.The project is an Animate Projects commission supported by the Wellcome Trust.
ArcadeCardiff 14.1.15 – 24.1.15
Submersion/Ymdrochi - Hannah M Morris and/ac Owain Griffiths
Painter-printmaker Hannah M Morris and musician Owain Griffiths collaborate in a cross-media exploration of memory and experience. Over two weeks they will transform Arcadecardiff, recreating their experiences of an isolated, windswept week camped high in the Berwyn Mountains. They aim to communicate the feeling of submersion within that environment, using ink, film, music and photography.
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Peintiwr-Gwneuthurwr print Hannah M Morris a’r cerddor Owain Griffiths yn cydweithio mewn archwiliad traws-gyfrwng o gof a phrofiad. Dros bythefnos byddant yn trawsnewid Arcadecardiff , ail-greu eu profiadau o wythnos ynysedig , hegar wedi ei gwersyllu yn uchel yn Mynyddoedd y Berwyn. Eu nod yw cyfleu y teimlad o ymdrochi o fewn yr amgylchedd hwnnw , gan ddefnyddio inc , ffilm , cerddoriaeth a ffotograffiaeth .
︎ hannahmmorris.weebly.com
Submersion/Ymdrochi - Hannah M Morris and/ac Owain Griffiths
Painter-printmaker Hannah M Morris and musician Owain Griffiths collaborate in a cross-media exploration of memory and experience. Over two weeks they will transform Arcadecardiff, recreating their experiences of an isolated, windswept week camped high in the Berwyn Mountains. They aim to communicate the feeling of submersion within that environment, using ink, film, music and photography.
****
Peintiwr-Gwneuthurwr print Hannah M Morris a’r cerddor Owain Griffiths yn cydweithio mewn archwiliad traws-gyfrwng o gof a phrofiad. Dros bythefnos byddant yn trawsnewid Arcadecardiff , ail-greu eu profiadau o wythnos ynysedig , hegar wedi ei gwersyllu yn uchel yn Mynyddoedd y Berwyn. Eu nod yw cyfleu y teimlad o ymdrochi o fewn yr amgylchedd hwnnw , gan ddefnyddio inc , ffilm , cerddoriaeth a ffotograffiaeth .
︎ hannahmmorris.weebly.com
