Deall Y Lle


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Deall Y Lle

Event #1 – 13th May 1 -2 pm – Oriel Myrddin Gallery – Russell Roberts talk
Event #2 – 23rd May 6.30 – 7.30 pm – Rhôd Artists talk – Small World Theatre/Theatr y Byd Bychan
Event #3 – 25th May 2.00pm – 6.00pm – Rhôd Opening – Artists’ prensentations at 5.30pm
Event #4 – 29th May 10.30 am – 12.30 pm – Welsh language tour of the exhibition suitable for Welsh learners
Event #5 – 31st May 11 am – penny d jones, Walk in the Square Mile (with artist, Jo Shapland)
Event #6 – 21st June – penny d jones & Roger Lougher, Pwerdy, Llandysul – photography workshop event
Event #7 – 8th July -Rowan O’Neill and Siriol Joyner workshop, Ysgol Gynradd Felin Fach, Llanfihangel Ystrad,
Event #8 – 17th July 8.00pm – 8.00pm Marian Delyth talk, Red Dragon Hall, Drefach Felindre
Event #9 – 19th July – To be confirmed….
Event #10 -26th July – Maura Hazelden workshop, Hermon Community Centre, nr. Crymych
Event #11 – 22nd August – Made in Roath / Gwnaed yn Nrefelin Theatr y Byd Bychan

Digwyddiad #1 – 13ain Mai 1 -2 y p – Oriel Myrddin – sgwrs gan Russell Roberts
Digwyddiad #2 – 23eg Mai 6.30 – 7.30 yh – Sgwrs Artistiaid Rhôd– Small World Theatre/Theatr Byd Bychan
Digwyddiad#3 – 25ain Mai 2.00 – 6.00yh – Agoriad Rhôd – Sgyrsiau Artistiaid  5.30yh
Digwyddiad#4 – 29ain Mai 10.30 yb – 12.30 yp – Taith gerdded o gwmpas yr arddangosfa, addas ar gyfer dysgwyr
Digwyddiad #5 – 31ain Mai 11 yb – penny d jones Cerdded y Filltir Sgwar (gyda Jo Shapland)
Digwyddiad #6 – 21ain Mehefin – penny d jones & Roger Lougher, Pwerdy, Llandysul – gweithdy ffotograffiaeth.
Digwyddiad #7 – 8fed Gorffennaf – Gweithdy gyda Rowan O’Neill a Siriol Joyner, Ysgol Gynradd Felin Fach, Llanfihangel Ystrad
Digwyddiad#8 – 17eg Gorffennaf 8.00 – 9.00yh sgwrs gan Marian Delyth, Neuadd y Ddraig Goch, Drefach Felindre
Digwyddiad#9I’w gadarnhau
Digwyddiad #10 –  26ain Gorffennaf – Gweithdy gyda Maura Hazelden yn Neuadd Gymunedol Hermon, ger Crymych
Digwyddiad#11 – 22ain Awst – Made in Roath / Gwnaed yn Nhrefelin/ Theatr Byd Bychan

DOWNLOAD: Calendar:Calendr


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Digwyddiad/Event #9

 

 

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Different ways of physically writing

Chinese

Without ink

filling space

concrete poetry visual started south america

Ian Hamilton Finlay

Russian futurist

Made up language

Spoken word

Text festival

Camilla Nelson

auto biography

On stairs

Sound of writing

Writing with and on an apple tree

Eco poetry

Entropy

Maura’s work with Lou Laurens read out together

Text generator

Breaking up

Repetitions

Breaking into language

Fragmenting it

Pond

Read words together

People writing about places

Write about here

Your home

Past present

How to present

Presentation

Making a book

Writing in flour and water

Alan Garner embedded in his landscape

Working separately

Visual artist works with words

Working with each other’s words

Directed by each other

Reading together

Defining

Responding

Given words each

Talking about each other’s words

Writing a word in response to something

Cutting up words

Meanings of parts of words

Emotional response

Use people to make sound

Hearing each other

Experiments

Sound

Visual

Outside

Garden

Sound meaning visual

Wealth

Narrative

List

Read across

Crossword puzzle

Penrhiw

Maes hyfryd

Lon cariadon

Names

Of houses

Sense of place

Tracing paper

Record

Map

Synaesthesia

Build

Bits

Stuck

Stick

Glue

Black felt tip pen

RhodWorkshop26Julynew

Gweithdy/Workshop gyda/with Maura Hazelden

This place, here // Y lle hwn, yma

writing 1& 2

A workshop concentrating on the use of language. You will look briefly at how artists – and poets –  have used language, from the purely visual/concrete to the performed/spoken. The aim is to experiment with creating a sense of place on the page or in spoken word – or both; this could be your local environment or the room & building you are working in.

 

If you like using a word processing programme please do bring your laptop – there won’t be a printer, but there are many digital ways of presenting language – even good old power point: yes, really –  and if you are confident in any medium then use it. Paper, pens, pencils, stencils will be provided but bring the basics of what you think you need.

 

Maura Hazelden is a visual artist who has taken to using language/words as material; from concrete to the spoken and some challenging bits in-between. She has a particular interest in space and place – site specific.

 

 

 

 

 


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Marian Delyth: Y filltir sgwâr | The square mile #8

 

Marian Delyth cynilleidfa

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Mae Marian Delyth yn ffotograffydd o Geredigion ac

wedi siarad am ei waith dogfennol – cof ac etifeddiaeth

o gefn wlad Ceredigion. Oedd e’n ddiddorol dros ben

gyda straeon o sut wnaeth hi’r gwaith gyda phrosectau

cymunedol, cymharu llefydd hen a newydd, bywyd

amaethyddol, naws y lle – golled hiraeth o hen bobl i

ladd gwyddau. Oedd hi’n dogfennu y bywyd go iawn,

fel mae e.

Marian Delyth is a photographer from Ceredigion

and talked about her documentary work – memory

and inheritance of.  She was very interesting with

tales of how she made work with community

projects, comparing old and new places, farming

life, the essence of place from old people to killing

geese. She documented the real world, as it is.

 

 

1.RhodSgwrs_17July_A4-1

 

Dw i’n edrych ymlaen i weld y delweddau a chlywed Marian Delyth yn siarad am ei phrosectau.

I’m looking forward to seeing the pictures and hearing Marian Delyth talk about her projects.

http://www.s4c.co.uk/ffeithiol/e_100lle.shtml

Mae llyfrau gan Marian Delyth | Books by Marian Delyth

http://www.s4c.co.uk/ffeithiol/e_100lle.shtml

 


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Diwyddiad/Event #7

Archwilio’r Filltir Sgwâr

Gweithdy

Rowan O’Neill a Siriol Joyner mewn cydweithrediad ag ap Ogam

2014-07-02 18.14.47

Bydd y gweithdy hwn yn archwilio cysyniad o’r ‘filltir sgwâr’ yng nghyd-destun ysgol gymunedol yn Nyffryn Aeron.  Gan gychwyn trwy fapio synnwyr o lefydd cyffredin yn gorfforol bydd y gweithdy yn ceisio ymestyn profiad yr unigolyn trwy ddefnyddio technoleg newydd o enw ‘realiti estynedig’.  Bydd y mynychwyr yn defnyddio ‘smartphone app’ arbennig sy’n caniatâi defnyddwyr i adeiladu cyfres o straeon a thagio nhw yn y tirlun er mwyn creu map unigryw o le arbennig. Bydd y gweithdy yn gyfle i arbrofi gyda’r teclyn newydd hon ac yn cyflwyno dull newydd o gyfuno lle a’r profiad o fod mewn lle.

ysgol felinfach2 ysgol felinfach3 ysgol felinfach4 ysgol felinfach5 ysgol felinfach8 ysgol felinfach9 ysgol felinfach

http://www.mixcloud.com/RadioBeca/penny-jones-gweithdy-ysgol-felinfach-2/
 http://www.mixcloud.com/RadioBeca/penny-jones-gweithdy-ysgol-felinfach/


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Digwyddiad/Event #5

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Saturday/dydd Sadwrn  31st May/Mai 31ain  11am/yb Rhôd 2014,Drefelin SA44 5XB

 

A drawing walk around the square mile to close the exhibition, led by penny d jones with a contribution from Jo Shapland; a multi/interdisciplinary artist, choreographer and performer whose work is rooted in landscape. In 1998 Shapland established ManTroi as an identity and vehicle for the presentation of her work in the public domain.

Taith gerdded ac arlunio o gwmpas y filltir sgwar i gloi’r arddangosfa. Arweinir gan penny d jones gyda chyfraniad gan Jo Shapland: mae yn artist  aml/rhyngddisgyblaethol, coreograffydd a pherfformiwr sydd a’i gwaith wedi ei wreiddio yn y tirwedd. Yn 1998 sefydlodd Shapland ManTroi fel uniaeth a chyfrwng ar gyfer cyflwyno ei gwaith yn gyhoeddus.

The fifth event of a series of talks, art events and workshops in West Wales

Y pumed digwyddiad mewn cyfres o sgyrsiau, digwyddiadau celf a gweithdai ar draws Gorllewin Cymru

Rhôd 2014 is an annual exhibtion of site specific contemporary art

Mae Rhôd 2014 yn arddangosfa celf gyfoes sy’n ymateb iʼr lleoliad

 

Mae penny d jones yn artist gweledol sy’n dangosyn Rhôd 2014, a defnyddio adnoddau lleol adlewyrchu’r lle, llanw llyfrau artist gyda’r marciau ac arlunio wedi cael ei wneud gan yr amgylch. Pan mae hi’n dod a grwpiau maen nhw’n gweithio yn yr un ffordd.

penny d jones is a visual artist showing at Rhôd 2014 where she is using the natural resources to reflect the space, filling artists books with marks and drawings made from and by the immediate environment. When she takes groups on drawing journeys, they work in a similar way.

www.pennyjones.me.uk

photograph Jerry Hyde © Jerry Hyde and Jo Shapland

photograph Jerry Hyde
© Jerry Hyde and Jo Shapland

Jo Shapland‘s site-sensitive installation/performances enquire into presence, memory and transformation. She is a dance and visual artist with over twenty years professional performance and devising experience.

www.mantroi.wordpress.com

(more…)

Her work is rooted in landscape. It is developed and presented in spaces ranging from natural wilderness to urban architectural interiors, from ruined farm-buildings to traditional proscenium theatres. She has wide experience of collaborating with artists from a broad spectrum of disciplines and bringing them into both her own and freelance projects. She constantly seeks out and researches the body through international workshops and placements. In 1998 she established ManTroi as an identity and vehicle for the presentation of her work in the public domain.

 


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Digwyddiad/Event #4

 

Mai 29ain

daeth grŵp o ddysgwyr i weld yr arddangosfa, arweiniodd penny d jones y daith

 

taith ddysgwyr1taith ddysgwyr

 

Dyma fanylion rhodd Rhôd i’r dysgwyr:

 

Mae Rhôd yn sioe gelf gyfoes sydd yn cynnig cyfle i greu gwaith safle-benodol mewn sawl cyfrwng, gan gynnwys cerflunio, gosodiad, perfformiad, celf sonig, gweithgaredd celf rhyng- berthynol; celf amserlinol.

~

celf gyfoes : contemporary art (gweithgaredd celf ers tua 1950/art made since around 1950)

gwaith safle – benodol : site-specific work (gwaith sydd yn ymateb i leoliad arbennig ac o’r oherwydd ni ddylai gael ei arddangos eto er yn aml gellir ei ail fodelu ar gyfer gofod newydd / work made in response to a particular place and so should not be shown again although it often is remodelled to fit a new space)

cyfrwng : medium

cerflunio : sculpture (unrhyw waith tri-dimensiwn /any three dimensional work)

gosodiad: installation ( gwaith a adeiladir yn y safle; yn aml mae’n cyfuno nifer o weithiau celf a mewn sawl cyfrwng i greu profiad o ymgolli/work that is built within a site, often made up of a number of different art works and different media to create an immersive experience)

perfformiad : performance ( celf lle mae’r artist yn defnyddio ei g/chorff fel y cyfrwng i’r gwaith. Gall gynnwys perfformwyr eraill, dawns, drama, meim neu symudiad mwy rhyddieithol/ art that involves the artist using their own body as the medium of the work. This can involve other performers, dance, drama, mime or more prosaic movement.)

gweithgaredd celf rhyng-berthynol: participatory and relational art (celf sydd yn ymchwilio’r berthynas rhwng y gwaith a’r gynulleidfa gan ddefnyddio deialog, cyfathrebu a rhyngweithio gan dynnu sylw’r cyfranogwyr i’r berthynas a grewyd. Mae’r artist yn gweithredu fel catalydd yn hytrach na ffocws y gwaith/art that explores the relationship between the work and the audience and uses dialogue, communication and interaction to bring the focus of participants to the relationship created. The artist is the catalyst rather than the focus of the work

celf amserlinol : time-based art (ffilm,fideo, perfformiad ac unrhyw waith sydd i newid dros gyfnod o amser/ film, video, performance and any piece of work that is designed to change over time)

 

TERMAU/GLOSSARY OF TERMS

DEUNYDDIAU/MATERIALS

Elizabeth Waterhouse.

Darluniau o adar ar ffenestri yn y coed/Bird sketches on windows in the trees

Sean Olsen

blychau sain pren/wooden sound boxes; blychau bwydo adar/bird feeders [yn yr ardd/in the garden]

Roger Lougher

Coeden wedi cwympo a’i hail osod; weiren/fallen tree re-assembled; wire

Sera Wyn Walker a Bob Gelsthorpe

Print teip c; byrddau OSR/c type print; OSR boards

Toby Downing a Sean Vicary

Olwyn ddŵr bren; peiriant hudlusern/wooden water wheel; magic lantern machine

Sam Vicary

Paent olew a pren/oil paint and wood [yn yr ardd/in the garden]

Acrylig ar bapur/acrylic on paper [yn y felin/in the mill]

penny d jones

Llyfrau sgetsh o waith llaw, papur wedi’i ailgylchu, pensil, yr amgylchedd a thwein. Handmade sketchbooks with recycled paper, pencil, the environment and string. [yn yr ardd/in the garden ac yn y felin/in the mill]

George Manson

Hysbysfwrdd/noticeboard

Gemma Green-Hope

Blwch gwydr a phlanhigion/Glass box and plants

Jade Mellor a Jake Whittaker

Poteli gwydr yn nodi planhigion gwyllt i’w helbori/glass domes marking wild plants to be foraged.

Mark Halliday a  David Shepherd

Castio mewn efydd/bronze casting [dydd Sul yn unig/ Sunday only]

Beatrice Williams a Kathryn Campbell Dodd

Ffilm Sheared/Cneifio; Brethyn Llwyd : print digidol ar bapur lliain cotwm/digital print on cotton rag paper

 

Mae melin flawd wedi bod ar y safle hwn ers 1658, ac o bosib ynghynt. Mae’r adeilad presennol yn dyddio o’r ail ar bymthegfed ganrif [17c]. Bryd hynny, roedd Felin Newydd yn eiddo i Arglwyddiaeth Cilgerran. Yn y flwyddyn 1800, y melinydd oedd Ebenezer Rees, a oedd hefyd yn bregethwr Methodistaidd adnabyddus. Ar fap y degwm 1839, plwyf Llangeler, [gweler copi yn y ffolder] Margaret Rees oedd y perchennog a David Evans yn felinydd.

Yn lleol, mae’r felin heddiw yn cael ei hadnabod fel Melin Ronald, ar ôl y perchennog Ronald, a oedd yn gawr o ddyn ac yn dipyn o chwedl. [mae llun ohono ar ddiwrnod carnifal pan fyddai’n arwain yr orymdaith]. Roedd gan Ronald fusnes gwerthu bwyd anifeiliaid gyda’r stordy tu cefn i’r hen felin – lle mae seiliau’r adeilad newydd nawr.

Rydym wedi adnewyddu’r olwyn ddwr a wnaed yn wreiddiol gan T. Thomas o Aberteifi a felly mae’r rhod yn troi unwaith eto – yn y man ein bwriad yw ei defnyddio i gynhyrchu trydan ar gyfer ein cartref newydd.

Melin flawd/flour mill                                             Gorymdaith/procession

Melinydd/miller                                                       Stordy/warehouse

Pregethwr/preacher                                               Seiliau/foundations

Map y degwm/tithe map                                       Adnewyddu/restore

Perchennog/owner

Olwyn ddwr/rhod : waterwheel/rhod can also mean fate [wheel of fortune]

Mae hon yn engraifft prin o felin flawd gyda’r holl offer a pheriannau dal yn eu lle:

Pwll y felin/mill pond                                     Cafn/leat

Ceuddrws/launder                                         Hopran/Hopper

Cocos, dant olwyn /wheel tooth                Gogor/riddle

Carreg Farchog/Runner Stone

Cerrig Cymru i falu’n gyffredinol / Welsh Stone for general grinding

Cerrig Ffrench i falu’r llafur a’r gwenith/ French Stone to grind corn and wheat

 

 

 

 


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Deall y Lle #1 Russell Roberts’ talk 13th May 2014 Oriel Myrddin

Hidden Country: Some thoughts on Rhôd

Russell Roberts, Oriel Myrddin, Carmarthen, May 13 2014

 

Summary:

­

Russell Roberts was asked to reflect on the theme for Rhôd’s 2014 cultural programme ‘Deall y Lle: y filltir sgwâr’,and to put these into some kind of context relating to his own work.

 

He began by outlining some questions concerning conceptions of ‘our square mile’ drawing on the work of Raymond Williams in ‘The Country and The City’ (1973) and William Least Heat-Moon’s book ‘PrairyErth – A Deep Map’ (1991), as well as contemporary art in Wales that opened up complex Welsh expressions such as ‘milltir sgwar’ and ‘Hiraeth’ that were sympathetic to the cultural politics of Williams and Heat-Moon’s approaches to ‘deep mapping’. Of particular interest were the works of Kath Ashill, Iwan Bala, Timothy Davies and Peter Finnemore. Through literary criticism, cultural history and visual art, specific questions of power, of insider/outsider and contested territories were raised. A unifying thread here was the value of history. It was on this point that Roberts spoke about curatorial practice as a way of doing history in dialogue with contemporary art but not before a point was made concerning the impossibility of escaping globalisation if participating within the international contemporary art system. On a related matter, the core of the dialogue between ‘the rural’ and ‘the urban’, the perceived ‘margins’ and the ‘culture centre’ needed to be clear on this matter in terms of the dangers of erasing differences as these values collided and exchanged in terms of Rhôd’s framework and ambition. It was noted that a number of rural arts-based projects simply trade on the perceived ideas and otherness of the countryside, rather than deal specifically with a clear question concerning visual arts role in connecting people or examining place or history.

 

The second half of the talk reflected on Robert’s interest in curatorial practice both as an independent curator then one deeply entrenched in institutions as custodian of visual histories. Here the gallery and the museum figured and projects from the 90s such as Memory & The Archive, and In Visible Light were summarised around archival and collections sensibilities. Work in and for museums was discussed looking at some of the challenges of working with critical ideas that were not always easy to mobilise in larger, monolithic institutions. More recent projects that marked a return to working as an independent curator focused on work in Wales that included Hidden Country – Photographs of the Free Wales Army 1966-68 (2009), Without Words/Heb Eiriau (2010), The Silent Village (2011) and Structures of Feeling (2013). The importance of meaningful collaboration between Roberts and artists was emphasised here as a way of changing expectations and fixed roles in exhibitions that were a mix of art, criticism and curatorial thinking. The ongoing collaboration with Peter Finnemore was singled out here. Such ways of working had helped a number of projects to address neglected visual histories within Wales ranging from police photography, propaganda, and photojournalism and press photography. It was argued by engaging with these in the contexts of art such as the gallery or in dialogue with contemporary arts practice and cultural criticism that the hidden layers associated with place the archive and the historical imagination could be better appreciated. On this point, Roberts returned to Rhôd’s framework suggesting it was very well placed to generate a rich and potentially deep map of immediate vicinity of Drefelin and potentially that of Carmarthenshire.

 

The closing remarks pointed towards Rhôd’s mission statement and its desire to stimulate conversations and dialogues and that some discussion should be given to this in terms of the questions that should drive that exchange. An open remit can be exciting as well as a ranging position on ‘the rural’ and ‘the urban’, but it might be even more exciting and productive to ask why and to what end? As key question, is deciding on what role art is to play in this project in terms of the specificity of ‘place’, and what the expectations are of those that participate, as well as those of the audience.