ARTISTS TALKING

# 31 [11 October 2009]

The Personalised Surface, New Approaches to Digital Printmaking.

As part of contextualising the work and looking closely at process you might like to know that the digital print I made for Le Cheile (collaborative with Eilish McCann) has featured as a case study with the Fine Art Digital Environment Research Project, Personailsed Surface.

See http://www.faderesearch.com/digitalsurface/case-studies/links/

I have noticed that some images are missing and in case they are not repaired the images for my case study are included on this post.

There is an excellent dvd of the whole research project available from FADE.

Andrew Smith

# 30 [6 October 2009]

We are making the final preparations for our stay at Y Nant in a fortnight's time - ferries being booked, portable equipment being gathered together, weather forecasts being scrutinised.  I'm not losing sleep over it all.....yet.  But I will do shortly.  What is the worst that could happen?  High winds, cataracts and hurricano(e)s cancelling the Irish Sea ferries; outbreak of World War III and all ferries commandeered for evacuation of Dunkirk; other baroque and even more unlikely scenarios leading to complete disaster.

Actually, since the accommodation is booked and the food is provided on site, providing some of us can get there with a sketchbook and a couple of pencils apiece we can have a good time whatever happens.  After all, you can make interesting drawings in torrential rain and high winds even when the ink runs and the paper half blows away.  And then escape indoors and do some printing.

So, let's hope for calm seas and a good and productive three days' work.

Alison.

# 29 [8 September 2009]

Nant Gwtheyrn images - Traeth y Nant

AC

# 28 [8 September 2009]

I went back to Nant Gwtheyrn for another look around yesterday, and took some photographs - as the ones we were sent by the Director were probably copyrighted, and I didn't feel I could post them on this blog.  The smart new café block is finished (although it was closed to the public) - the café is called after Meinir, the heroine/ victim of the legend of the bride in the oak tree.

It turned out to be a really fine day after what feels like weeks of non-stop rain, and I walked along the beach with a friend.  Hard going, as it's coarse shingle with the odd dead sheep, but the outgoing tide revealed a gently shelving sandy area.  We walked back along the Llyn Coastal path, which involved a stiff climb up the cliff and a gentle walk back through wind-stunted oak and hazel woodland.    Remnants of Y Nant's industrial past are everywhere, stone and iron like totem poles defying the elements.  There are lots of things here to inspire the printmaker, so I hope we'll have a really useful few days.

AC

# 27 [17 August 2009]

Stop Press:  our exhibition at Oriel Ynys Môn is now going to be in September 2011.  It is hoped that an education programme will accompany the exhibition - details to be arranged.

http://www.croesomon.co.uk/oriel_ynys_mn-22.aspx

# 26 [11 August 2009]

Lots of activity now after an apparently fallow period.  The bookings for Nant Gwtheyrn are underway.  Kim Dewsbury, Arts Officer for Denbighshire, phoned this morning about images for the new programme, and to ask if we would be exhibiting any 3D or audio work. Thinking aloud, she wondered whether we could have some music in the background.     This has set me thinking, because Pamela was trying to record the voices of the crowd at the Eisteddfod on her camera.  I didn't realise that my digital camera had a microphone, or I could have had a go myself.  Perhaps we could have a sound piece of speech in the languages spoken by participants?  (I would need to find someone with proper recording equipment and mixing facilities - I have  a couple of ideas there - will pursue this, I think.)

AC

# 25 [9 August 2009]

and then.....after the meeting in Harlech yesterday afternoon, Pamela and Alison headed rapidly eastwards over the mountains towards Bala and the last evening of the Eisteddfod Genedlaethol.

The logistics of the day's travelling meant we didn't get there until most of the exhibitors had shut up shop, but by great good fortune the first tent we came to was the Art & Craft tent, and the first person we met therein was Diana Williams, one of the Le Chéile artists.  She had had such a successful week that she had almost completely lost her voice.  Nearby, some of Steffan's work was still in the Cornel Celf a Chrefft. http://www.achrefft.co.uk/amdanom_ni_about_us.html

We managed to get into the Art & Craft Pavilion (diolch yn fawr iawn, Robyn Tomos) where - another piece of luck - I was able to introduce Pamela to Sean Harris, collagraph printmaker & animator extraordinaire.  There isn't enough room in this slot to give a critique of the work in the Pavilion: suffice it to say that it was very diverse in subject and execution, and I agree with Steffan that "Hadau" was the most atmospheric piece, even though we missed the performance and just saw the installation.

http://www.bbc.co.uk/wales/northwest/sites/eistedd...

Finally we attended the closing concert in the main Pavilion, along with 3,000 other happy Eisteddfod visitors.  The atmosphere in the Pavilion is always terrific, and the performers (Cwmni Theatr Maldwyn - a youth music theatre) put on a great show. Pamela - an Irish speaker - found it exciting and intriguing to be surrounded by people of all ages speaking Welsh.

This morning Ian Williams, another member of the group, came over for coffee before Pamela went to take the ferry home.  So, more chat and exchange of ideas and stories. Ian & Pamela recounted the tale of Rhys and Meinir, which was new to me.  Meinir is trapped in an oak tree on her wedding day, Rhys and his faithful dog search for her in vain, and then both expire when a storm splits the oak and reveals her body. The setting of the legend is Nant Gwtheyrn, where the language centre is now.  Layers of meaning within the story, within the landscape. Ideal stuff for printmaking.

AC

# 24 [9 August 2009]

Veronica is in Wales at the moment, studying Welsh on an intensive four week course in Aberystwyth.  She managed a day off to see some of us, and Pamela came over especially from Ireland to join in.  (Our thanks to Andrew for his hospitality).  We had a really good session together over several cups of tea, chocolate biscuits and bara brith.

Although things have been rather quiet with Le Chéile over the last few months in the Northern hemisphere, our Australian exhibition is touring the State of South Australia, and has attracted considerable attention.  Veronica has worked incredibly hard, and deserves our thanks and several medals.  (I hope she will post on the blog if she gets the time).  It was great to hear her account of the Celtica festival, which is going from strength to strength - and it was fascinating to hear about her residency at Grindells Hut  http://www.portaugusta.sa.gov.au/site/page.cfm?u=935

Pamela has recruited two more Irish artists, and has hopes of some more; Veronica will be head-hunting in Australia; Nant Gwtheyrn is on the horizon; the Anglesey gallery Oriel Môn is interested in showing the work in 2013.  Pamela is planning on setting up a group website to facilitate future applications for exhibitions etc.

Le Chéile certainly has "legs", and looks as though it will run for a good while yet.

AC

# 23 [13 May 2009]

By Pamela de Brí, Irish co-coordinator

This project is a cross-cultural project involving two Celtic countries with the same roots and similar traditions and using verbal three languages: Irish, Welsh and English.

"Le Chéile" project recognises the importance of sharing and accepting cultural diversity between the two countries while dealing with the limitations of verbal communication. The spoken word can often lead to misinterpretations, whereas visual language crosses these boundaries.

What makes this collaboration especially different is the fact that the artists are not working in the same physical space and therefore the work is produced sequentially. There is no face-to-face communication, no interruptions of dialogue, no discussion, and no immediate response. The collaborating artist responds to the work in front of him/her. The work develops at a distance, slowly. Therefore, because of this delayed response, the project is a long term one which is now entering its next phase.

New participants have come on board in Ireland, in Wales and now in Australia. This next phase, while encouraging continued collaborations between established partners, consists of opening up the project to elicit response to any image by any of the artists, thus encouraging visual dialogue between any two, three or group of participants.

(précis by AC, with permission)

Le Chéile - comh-thionscadal Breathnach-Éireannach - cumarsáid trí dhéanamh priontaí.

D'eascair an tionscadal seo ó chuntas a thug John Berger ar a chumarsáid le Marisa Camino trí mheán na líníochta. Ba chabhair dóibh nach raibh teanga chomónta ar bith acu.

Tar éis nasc a dhéanamh le páirtí Breathnach, thosaigh gach duine againn ar agallamh den chineál céanna, cuid againn, Éireannaigh nó Breathnaigh, ag iarraidh cumarsáid a dhéanamh trí mheán na híomhá amháin, ach bhraitheamar deacrachtaí anseo toisc go bhfuil an Béarla mar theanga chomónta againn go léir.

Tháinig téamaí ar nós talamh, teanga agus áit chun cinn mar thús-phointí don amharc-chumarsáid. As sin, agus muid ag obair le priontaí agus líníochtaí, thosaigh colláisí agus ríomh-phostanna ag

# 22 [28 April 2009]

Now all the work has been selected for our Australian exhibition we are looking to refocus and possibly regroup.  We have some new members, and new potential members as well.  Watch this space for developments!

AC