Artists In Residence Introductory Exhibition
Anne Smith, Rhodri Brooks, Teddy Hunter, Teleri Lea
04/04/18 – 14/04/18
PV 04/04/18 6-8


Anne Smith

Hyfforddais mewn serameg, ond ers y 22 mlynedd diwethaf rwyf wedi bod yn gwneud cwiltiau celf gain. Cefais fy ysbrydoli gan gwiltiau celf Americanaidd gyfoes, lle mae’r artist yn rhydd i fynegi meddyliau a theimladau a ddim wedi ei chyfyngu i batrymau a thraddodiadau penodol.

Rwy’n hoffi’r traddodiad araf a’r crefftwaith sydd yn rhan o greu gwaith cwilt. Rwyf hefyd yn hoffi ysbryd rhydd, symudiad a bywiogrwydd darluniau haniaethol. Rwy’n cyfuno’r ddau arddull i greu cwiltiau mynegiadol i’w arddangos ar waliau sydd wedi’u hysbrydoli gan fy meddyliau a’m profiadau.

Mae gan fy nghwiltiau nodweddion darlun wedi ei phaentio, er nad ydw i’n defnyddio paent, dim ond pwytho llaw a pheiriant. Rwy’n defnyddio agwedd celf gain tra’n aros o fewn ffurf cwilt lle mae ‘haenau ffabrig ynghyd a phwythau cwilt’. Rwyf yn rhyfeddu sut gall pethau mawr cael eu mynegi gan ddefnyddio dulliau syml a deunyddiau bob dydd.

Er bod fy ngwaith yn bennaf yn haniaethol, mae elfennau ffigurol yn aml yn ymddangos (wynebau, anifeiliaid, esgidiau) fel presenoldeb o fewn y we o bwyth a ffabrig, gan awgrymu straeon a chwarae gyda gofod a graddfa. Rwy’n hoffi’r syniad o greu rhywbeth cyflawn allan o siapiau gwahanol ddarnau o fy mywyd (a bywydau pobl eraill, gan fy mod yn gweithio’n bennaf gyda dillad wedi’u hailgylchu o siopau elusennau).

Mae fy nghwiltiau yn rhannol wedi eu cynllunio ac yn rhannol yn adwaith i feddyliau a digwyddiadau bywyd bob dydd, gan gynnwys y broses o ddod o hyd i’r ffabrigau a’r deunyddiau dwi’n eu defnyddio.

I trained in ceramics, but for the last 22 years I have been making fine art quilts. I was inspired by contemporary American art quilts, where the maker is not limited to set patterns and traditions but has free rein to express thoughts and feelings.

I like the traditions, slow pace and craftsmanship of quiltmaking. I also like the free spirit, movement and vitality of abstract painting. I combine the two approaches to make expressive wall-hung quilts inspired by my thoughts and experiences.

 My quilts have painterly qualities, although I use no paint, just hand and machine stitching.

I take a fine art approach while remaining within the quilt format of ‘fabric layers joined by the quilted stitch’. I am intrigued that great things can be expressed with simple means and everyday materials.

 Although my work is predominantly abstract, figurative elements often appear (faces, animals, shoes) like presences within the web of stitch & fabric, suggesting stories and playing with space & scale. I like the idea of making something whole out of the many different shaped pieces of my life (and other people’s lives, because I mainly work with recycled clothes that people have donated to charity shops).

 My quilts are part planned and part reactive to the thoughts and events of daily life, including finding the fabrics and materials used.

Rhodri Brooks

Mae Rhodri Brooks yn artist o Greigiau a fu’n astudio ffotograffiaeth celf gain ym Mhrifysgol Plymouth. Gyda diddordeb mewn cerfluniau a phortreadau, mae Rhodri yn chwarae gyda chyfuno a haenu’r ddau gyfrwng. Mae o’n pwysleisio’r elfen berfformiadol o bortreadau ac yn cyfeirio at arddulliau traddodiadol peintwyr adfywiad yr Iseldiroedd, fel Vermeer. Gan greu portreadau sy’n aml yn ddoniol neu’n rhyfedd, mae’n gobeithio herio’r cyfrwng o greu portread, ac i gyfleu ymdrechion bob dydd o gydbwyso’r difrifol a’r hurt, agweddau’r oedolyn a’r plentyn.

Wedi gweithio’n flaenorol yn unig gyda golau naturiol, mae Rhodri nawr yn bwriadu arbrofi ymhellach gyda goleuadau fflach mewn stiwdio a lliwiau bloc. Mae o bellach yn gweithio fel ffotograffydd a cherddodd annibynnol yng Nghaerdydd ac yn hoffi arbrofi gyda chelf sain.

Rhodri Brooks is an artist from Creigiau who studied fine art photography in Plymouth University. Interested in sculpture and portraiture, Rhodri toys around with combining and overlapping the two, emphasising the performative element of portraiture and referencing the more earnest traditional styles of portraiture found in Dutch renaissance painters such as Vermeer. Creating often humorous or bizarre portraits, he hopes to poke fun at the medium itself, and capture the daily struggles and balancing act between the serious and the absurd, the adult and the child.

 Having previously worked exclusively with natural light, he now plans on experimenting further with studio flash lighting, and block colours. He now works as a freelance photographer and musician in Cardiff and would like to experiment further with sound art.

Teddy Hunter

Mae Teddy Hunter yn artist sain ac yn artist gweledol. Mae ei delweddau symudol yn aml yn defnyddio lluniau llonydd sydd wedi cymryd o ffilmiau arbrofol. Mae’r darn yma o waith heb ei orffen a dal yn cael ei datblygu. Mae o’n cynnwys cyfuniad o dechnegau ffilm gan gynnwys gweithio gyda ffilm 16mm a golygu digidol; mae hyn yn cyfuno prosesau analog a digidol.

Mae dylanwadau o bethau glitch a chyfryngau newydd yn cael eu cyfuno ag ymchwil i leoliad tôn lliw a’r amgylchedd, mae Hunter wedi dechrau defnyddio delweddau sy’n symud fel offeryn i ddatgelu a chwarae gyda gofod. Drwy osod taflunwyr yn bwrpasol yn ffordd y gynulleidfa, mae Hunter yn gwahodd y gynulleidfa i ymwneud a ffilm a ffurfio cysgodion a siapiau sy’n adlewyrchu’r gweadau o fewn y ffilm.

Mae’r awgrym o dirwedd a lle o fewn y darn hwn yn deillio o ddiddordeb parhaus gan Hunter i’n perthynas â’r amgylchedd a’n hamgylchiadau, a sut y gallwn ni deimlo dyfnder gofod o fewn delweddau sy’n symud neu o fewn llun.

As an audio-visual artist, Teddy Hunter’s moving images often extends into stills taken from these experimental films. This unfinished work in progress piece involves a combination of film techniques including working with 16mm film and digital editing; combining both analog and digital processes.

Influences from glitch and new media art combined with research into colour tone placement and the environment, Hunter has begun to use moving image as a tool to expose and play with space. By purposefully placing projectors in the way of the audience, Hunter invites the audience to interact with film and form shadows and shapes that reflect the textures within the film.

The suggestion of landscape and space within this piece is due to Hunter’s ongoing interest into our relationship with the environment and our surroundings, and how we can visually feel space and depth in a moving image or photograph.

Teleri Lea

Dros y degawd diwethaf mae Teleri wedi creu gwaith mewn amrywiaeth o gyfryngau, gan gynnwys collage, perfformiadau celfyddydol, ffotograffiaeth, argraffu sgrin a gosodiadau. Mae hi’n dod o gefndir amgylcheddol ac mae hi bellach yn creu gwaith sydd yn ymchwilio ei phrofiadau o natur.

Trwy gyfuno lliw a golau, mae hi’n creu gofodau sydd yn cynnig llonyddwch. Mae hi’n archwilio sut y gellir hyrwyddo lles a sut y gall y gwaith y mae’n ei greu cynnig lle i orffwys a myfyrio. Mae profiadau arddunol natur yn ganolog i’w gwaith ac mae hi’n archwilio sut gall y profiadau cymhleth yma, a theimladau o gysylltiad dwfn, gael eu cyflwyno mewn ffurf syml.

Mae Teleri yn defnyddio cylchoedd i symboleiddio cylchrediadau naturiol, y Ddaear, y planedau, y lleuad a’r sêr. Mae ganddi ddiddordeb penodol sut gall golau cael eu defnyddio fel cerbyd ac arwydd o hunan dyfiant.

Teleri has worked in a variety of media over the past decade, including collage, performance art, photography, screen printing and installations. She comes from an environmental background and now focuses on creating work that explores the experience of nature.

She creates calm, immersive spaces through the combination of colour and light. She explores how well-being can be promoted and how the work she creates can offer a space for rest and reflection. The sublime in nature is core to her work and she is interested in how complex experiences of connection to the natural world can be stripped back to a simple form.

Teleri uses circles that symbolise the cycles of nature, the Earth, the planets, the moon and the stars. She has a particular interest in how light can be used as a vehicle and emblem of self growth.

ArcadeCardiff is open 12:30 – 5:30, Wednesday – Saturday

Mae ArcadeCardiff yn agor 12:30 – 5:30, Dydd Mercher – Dydd Sadwrn.

teleri lea

 PastedGraphic-1 2
04/04/18 – 14/04/18
PV 04/04/18 6-8

LOMOGRAPHY Curated by Kamila Krol

Three Doors Up presents a group exhibition celebrating traditional photography techniques.

We’re focusing on analog, embracing all the possibilities it brings in terms of experimentation and self-expression.
We’re showcasing diverse work from local artists – full list will be published soon.

lomography 144

Penny Hallas and Caroline Wright: Binocular

Exhibition runs from 1 – 24 Mar 2018.

Event: Thursday 15 March, 2-3pm

East/West exchange: artists speaking from their respective geographical areas, including an interactive reading. With Dr Adrian Healy of Cardiff University’s School of Planning and Geography.

Closing drinks: Friday 23 March, 6-8pm

Penny Hallas lives in Llangattock, Powys. Caroline Wright lives in Kettleburgh, Suffolk.

Their shared concerns are realised in work that explores the position and experience of the insider and outsider, to challenge ideas through artwork, exchange and display of objects, parallel walking, mapping of locations and other works. They have chosen the Skirrid Mountain, Monmouthshire as their site of investigation as they unpick what it means to be familiar and unfamiliar and the disturbance this causesIn this new phase of the project, the artists will explore the direct relationships between their artworks.


Mae’r arddangosfa yn rhedeg o 1-24 Mawrth 2018.

Digwyddiad– Dydd Iau 15fed Mawrth, 2-3pm

East/West Exchange gyda Dr Adrian Healy a’r artistiaid yn siarad o’i ardaloedd eu hunain gan gynnwys cyfnewidfa darlleniad rhyngweithiol

Diodydd cau: Dydd Gwener, 6-8pm

Mae Penny Hallas byw yn Llangatwg, Powys. Mae Caroline Wright yn byw yn Kettleburgh, Suffolk.

Mae eu pryderon a rennir yn cael eu gwireddu mewn gwaith sy’n archwilio sefyllfa a phrofiad rhywun o’r tu mewn a’r tu allan, i herio syniadau drwy luniau, cyfnewid ac arddangos gwrthrychau, cerdded yn baralel, mapio lleoliadau a gweithiau eraill. Maen nhw wedi dewis Ysgyryd Fawr, Sir Fynwy fel eu safle ymchwilio, wrth iddynt ddatgelu’r hyn y mae’n ei olygu i fod yn gyfarwydd ac yn anghyfarwydd â’r aflonyddwch a achosir gan hyn.


ArcadeCardiff is open 12:30 – 5:30, Wednesday – Saturday

Mae ArcadeCardiff yn agor 12:30 – 5:30, Dydd Mercher – Dydd Sadwrn

PastedGraphic-1 2


Curated by Heledd C Evans

PV 09/03/18

Exh: 10/03 – 24/03/18 Open Wednesday to Saturday 12.30 – 17.30

Artists: Jessica Dent, Elin Hughes, Yixia Lin, Natasha Mitchell, Ethan Powell, Adlina Razan Ruslan, Jasper Smith, and Hamish Symonds

How many times do you walk into a gallery space and you feel distanced from the work? The way artworks are often displayed has restricted our experience of it to a limited, solely visual one, though this needn’t be the case…

HAPTIC is a collection of work from current and past students of ceramics at Cardiff School of Art and Design: Jessica Dent, Elin Hughes, Yixia Lin, Natasha Mitchell, Ethan Powell, Adlina Razan Ruslan, Jasper Smith, and Hamish Symonds.

The exhibition is displayed in such a way that invites you to engage with your full sensorium, moving away from the restraints of the white cube format. All artists use the same material, but each explore the diversity of the medium in completely contrasting ways, resulting in a varied and exciting experience.

Accompanying the work is an audio tour by curator, Heledd C Evans, guiding you through the space and encouraging you to interact with the exhibition.


Curadwyd gan Heledd C Evans

PV 09/03/18

 Ar agor Dydd Mercher- Dydd Sadwrn  12.30 – 17.30

 Artistiaid – Jessica Dent, Elin Hughes, Yixia Lin, Natasha Mitchell, Ethan Powell, Adlina Razan Ruslan, Jasper Smith, a Hamish Symonds

Faint o weithiau mae rhywun yn cerdded i fewn i oriel ac yn teimlo’n bell o’r gwaith? Mae’r modd y mae gwaith celf yn cael ei arddangos wedi cyfyngu ein profiad i un sy’n hollol weledol, ond nid oes rhaid i hyn fod yn wir…

Casgliad o waith gan gyn-fyfyrwyr a myfyrwyr presenol cerameg Ysgol Celf a Dylunio yw HAPTIC: Jessica Dent, Elin Hughes, Yixia Lin, Natasha Mitchell, Ethan Powell, Adlina Razan Ruslan, Jasper Smith, a Hamish Symonds. 

Mae’r arddangosfa yn cael ei arddangos mewn modd sydd yn eich gwahodd i ymrwymo gyda phob synnwyr, gan symyd i ffwrdd o’r fformat ciwb gwyn. Mae pob artist yn defnyddio yr un defnydd, ond mae pob un yn archwilio amrywiaeth yn y cyfrwng mewn modd cyferbyniol, gan greu canlyniad sy’n brofiad amrywiol a chyffrous.

Yn gwmni i’r gwaith mae taith sain gan y curadur Heledd C Evans, yn eich tywys trwy’r gofod ac eich annog i rhyngweithio gyda’r arddangosfa.

HAPTIC Poster logoed 72dpi


Penny Hallas and Caroline Wright: Binocular

Exhibition runs from 1 – 24 Mar 2018.

Launch Date: Thursday 1st March 2018, 6 – 8pm

Penny Hallas lives in Llangattock, Powys. Caroline Wright lives in Kettleburgh, Suffolk.

Their shared concerns are realised in work that explores the position and experience of the insider and outsider, to challenge ideas through artwork, exchange and display of objects, parallel walking, mapping of locations and other works. They have chosen the Skirrid Mountain, Monmouthshire as their site of investigation as they unpick what it means to be familiar and unfamiliar and the disturbance this causes. In this new phase of the project, the artists will explore the direct relationships between their artwork.

 Event: Afternoon of 15 March East/West exchange: artists speaking from their respective geographical areas, including an interactive reading. With Dr Adrian Healy of Cardiff University’s School of Planning and Geography.

ArcadeCardiff is open 12:30 – 5:30, Wednesday – Saturday


Mae’r arddangosfa yn rhedeg o 1-24 Mawrth 2018

Dyddaiad Lansiad; Dydd Iau 1af Mawrth 2018, 6 – 8pm

Mae Penny Hallas byw yn Llangatwg, Powys. Mae Caroline Wright yn byw yn Kettleburgh, Suffolk.

Mae eu pryderon a rennir yn cael eu gwireddu mewn gwaith sy’n archwilio sefyllfa a phrofiad rhywun o’r tu mewn a’r tu allan, i herio syniadau drwy luniau, cyfnewid ac arddangos gwrthrychau, cerdded yn baralel, mapio lleoliadau a gweithiau eraill. Maen nhw wedi dewis Ysgyryd Fawr, Sir Fynwy fel eu safle ymchwilio, wrth iddynt ddatgelu’r hyn y mae’n ei olygu i fod yn gyfarwydd ac yn anghyfarwydd â’r aflonyddwch a achosir gan hyn.

Digwyddiad– Dydd Iau 15fed Mawrth East/West Exchange gyda Dr Adrian Healy a’r artistiaid yn siarad o’i ardaloedd eu hunain gan gynnwys cyfnewidfa darlleniad rhyngweithiol

Mae ArcadeCardiff yn agor 12:30 – 5:30, Dydd Mercher – Dydd Sadwrn


PastedGraphic-1 2

Three Doors Up Residents LUMIN Journal will be launching their first publication on Friday 23/02 5-8 followed by a show of works from the First Issue.

Screen Shot 2018-02-07 at 19.38.17.png

The Exhibition will resolve with ZINE FAIR at Three Doors Up the first weekend of MARCH 03/04.


From 5pm Exhibition on view/ From 6pm Launch of UNDER THE NEON, CHAPBOOK FROM Connor van Bussel  with POETRY READINGS / From 7pm MUSIC from The Contact High till 8pm


dinahvagina: ‘Any feelings about this?’

0702/2018 – 24/02/2018. Wed – Sat 12.30 – 5.30

Opens 7th Feb

Drinks event Wed 14th February 6 – 8pm

Workshop with Dinah, Saturday 17th

Femicide: noun     

the killing of a woman or girl, in particular by a man and on account of her gender

In 2012 Karen Ingala Smith began collecting the names of women murdered in the UK where the principle perpetrator was a man, she brought together all those isolated incidents, from those that hit the headlines to those that didn’t make the press at all. The 135 cases of murder of women in 2012 have been completed.

Men get killed too of course, but mostly by men.

Male violence is the issue.

The work in this exhibition comments on the women’s lives ended in 2012 by men, often by the men they loved and cared for, their husbands and lovers, fathers, brothers, sons and grandsons, close family or the partners of close family.

Of the 135 only 11 were killed by strangers; the men who hurt us most aren’t lurking on the street after dark, they’re sat on the sofa waiting for us to come home, they sit with the kids at the kitchen table, they lie next to us in bed.

From the youngest at 15 to the oldest at 88 their lives are complete, done. Beaten to death with hammers, stabbed with knives until they snap, kicked and stamped on, set on fire, strangled with cables, dog leads, head scarves and hands, drowned, shot, cleaved with axes and lawn edger’s, bludgeoned with fire guards, fire extinguishers, bats, dumbbells, bolt cutters and a 4lb wooden elephant. “

Dinah 1

“dinahvagina went to university aged 50 and emerged a changed women, enlightened; she stood raw, on the brink of an art world she did not understand and she continues to grope, to feel her way, to search for a path. Work, mostly in ceramic, stacks up, it covers walls and windowsills, fills studio and attic. Solo shows in Cardiff, indoors and out, work in group shows, work on the internet allow small inroads but the desire to change the world, to change the place of women in it, is huge and clamorous. There is much work to do.”


VIEW in 3D

PastedGraphic-1 2


An Art Exhibition by CSAD MFA Students.

03:02:18 – 16:02:18

PV 02.02.18 6-8pm

Ronnie Houselander Cook, Martin Robert Reed, Matt Lewis, Jason Rouse, Jenny Chang, Merran Dubb, Davide Dalmanzio, Cherie Zhou, Becca Page, Rhiannon Davies, Maria Mbelu, Sapphira Hill, Nigel Ash, Giuliano Premier, Alice McKinty, Sam Kitcher



Eleanor Marley and Lily Jennings: Spatiality & Abstract

Venue: Three Doors  Up
PV/Diodydd: 6-8yh 19.01.18
20.01.18 – 27.01.18 Wed/Mer – Sat/Sad, 12:30 – 5:30

PastedGraphic-1 2

Archwiliad i ffiniau paentio cyfoes yw Spatiality & Abstract. Mae’r artistiaid yn cynnig persbectif gwahanol ar heriau o gynyrchioli tensiwn rhwng dwy ddeuoliaeth. Mae gwaith Lily Jennings yn ffocysu ar ffiniau y corff benywol a dimensiynau bob yn ail. Mae Eleanor Marley yn cyfuno ansoddau haniaethol o frithgofion o lefydd sydd a cyfarwydd-deb sy’n gynhenid yn nhraddodiad paentio tirlun ym Mhrydain.

Spatiality & Abstract is an investigation into the parameters of contemporary painting. The exhibiting artists offer differing perspectives on the challenges of representing a tension between two dichotomies. Lily Jennings work focuses on the boundaries of the female body and alternate dimensions. Eleanor Marley melds the abstract qualities of half-remembered places with a familiarity that is inherent in the tradition of British landscape painting.

three doors up

image: Eleanor Marley


Mandy Lane: ‘nid byd, byd heb wybodaeth’ ‘a world without knowledge is no world’

17.1.2018 – 3.2.2018

drinks/diodydd 19.1.2018, 6-8pm

talk/scwrs 26.1.2018, 6-8pm

(Reflection and inspiration) Visit to The Big Pit.

Once in the pit the cage opened and we spilled out. We were met with black walls braced with wood. We were introduced to the widow maker and the coal carts, and shown where the pit ponies lived. A 9 year old girl on a school trip asked our ex-miner guide ‘Who pushed the carts?’

Women, he answered.

Brilliant! I thought.

But he continued ‘But they were stopped in 1842, too much talking. They were stopped by the same man that stopped boys going up chimneys.’

And that was the trips first and last mention of women in the 2004 years of The Big Pit’s history.

This excursion inspired me to explore the largely un-mined seams of herstory, to bring to the surface the realities of Welsh mining life from a female perspective.

‘Nid byd, byd heb wybodaeth’ is a quotation from the book Our Sisters Land which, along with other texts Struggle or Starve, edited by Carol White and Sian Rhiannon Williams; an essay in Our Mothers land, counting the cost of coal by Dot Jones; and a short fictional story by Clare Potter entitled The Coping Stone, provide a focus for the research and visual response.

The work explores aspects of domesticity, death, sacrifice, hunger and loss.

(Adlewyrchiad ac ysbrydoliaeth) Ymweliad â’r Big Pit

Agorwyd gawell y pwll a llifasom allan. Yno roedd waliau du a phren.  Cawsom ein cyflwyno i’r ‘widow maker’, y certi glo, a lle roedd y merlod yn byw.  Gofynodd merch 9 oed oedd ar trip ysgol gwestiwn i’r tywyswr “pwy oedd yn gwthio y cartiau?”

Menywod, atebodd

Gret! Meddyliais.

Aeth yn ei flaen, “tan 1842. Daeth hyna i ben am fod gormod o siarad. Y dyn oedd yn gyfrifol oedd yr un dyn a wnaeth atal bechgyn fynd fyny simneiau”

A dyna oedd y tro cyntaf ac olaf a sonwyd am fenywod yn y 2004 o flynyddoed yn hanes y Big Pit.

Fe wnaeth y trip fy ysbrydoli I archwilio I ddyfnderoedd  ‘herstory’, i ddatgelu gwirioneddau bywyd cloddio cymreig o safbwynt menywod.

Dyfnyniad o lyfr Our Sister’s Land yw ‘Nid byd, byd heb wybodaeth’ ac mae ynhghyd a Struggle or Starve, sydd wedi ei olygu gan Carol White a Sian Rhiannon Williams, traethawd yn Our Mothers land, counting the cost of coal gan Dot Jones a stori ffuglennol gan Clare Potter o’r enw The Coping Stone , yn darparu ffocws ar gyfer ymchwil ac ymateb gweledol.

Mae’r gwaith yn archwilio’r agwedd o gartrefgarwch, marwolaeth, aberth, newyn a cholled.



There are no Celebrities on a Mortuary Slab – Closing Event 12/1/18 6-8pm

There are No Celebrities on a Mortuary Slab is a collection of work showcasing performativity. Performativity exists as a connective thread between daily interactions and theatricality: from everyday performance, in which we communicate our personal behaviours and identities; to deliberate performance as an expressive art form.

Exploring the profound in the routine, There are No Celebrities… presents the modes and mechanisms of performativity through film, photography, illustration, writing, clothing and live performance.

Event Friday 12th January, 6-8pm with performances from Elin Meredydd, Rhiannon Lowe and LOFT.

Casgliad o waith yn arddangos perfformadwyedd yw There are No Celebrities on a Mortuary Slab. Mae perfformadwyedd yn bodoli fel edefyn cysylltiol rhwng rhyngweithiadau dyddiol a theatraeth: o berfformiad bob dydd gan gyfarthrebu ein ymddygiadau personol a hunaniaethau i berfformiad pwrpasol fel celf mynegol.

Gan archwilio͛r dyfnder yn y drefn arferol, mae There are No Celebrities…yn cyflwyno͛r dulliau a͛r mecanweithiau o berfformadwyedd drwy ffilm, ffotograffiaeth, darluniadau, ysgrifen, dillad a pherfformiadau byw.

Digwyddiad ar Ddydd Gwener 12 Ionawr 6-8pm gyda perfformiadau gan Elin Meredydd, Rhiannon Lowe a LOFT.



Matt Cook: Colour Shape Rhythm

20.12.2017 – 7.1.2018

performance Saturday 23.12.2017 at 2pm

perfformiad Dydd Sadwrn 23.12.2017 am 2pm

New works by Matt Cook investigates the connection between sound, rhythm, colour and shape. The exhibition explores mathematical conceptions of sound and rhythm, and how they are connected through the the use of polyrhythms and musical consonance an dissonance. Sonic works create randomised music and poetry, while bright colours and uniform shapes are used to create a sense of harmony and order. All these things are connected, collage, sculpture and sound can all be thought of as forms of assemblage, and the show becomes an assemblage of itself. The works in the show are intended not to be viewed as individual pieces, but instead function as one exploration, each element referencing the others, with works of collage, sound, video and sculpture presenting a chain of unfinished thoughts and ideas.

Mae gwaith newydd gan Matt Cook yn ymchwilio’r cysylltiad rhwng sain, rhythm, lliw a siâp. Mae’r arddangosfa yn archwilio’r syniad mathemategol o sain a rhythm a sut meant yn gysylltedig drwy ddefnyddio polyrhythmau a chytseinedd cerddorol. Mae gwaith sonig yn creu cerddoriaeth a barddoniaeth ar hap, tra mae lliwiau llachar a siapaiu unffurf yn cael eu defnyddio i greu teimlad o harmoni a threfn. Mae’r pethau hyn yn gysylltedig. Gwelir gludwaith, cerflunwaith a sain fel ffurf o gydosodiad, ac mae’r arddangosfa yn ymddangos fel cydosodiad o’i hun. Mae’r darnau yn y sioe yno i’w werthfawrogi fel un archwiliad, yn hytrach na darnau unigol, gyda phob elfen yn cyfeirio at y gweddill. Mae’r gludwaith, sain, fideo a cerflunwaith yn cyflwyno cadwyn o feddyliau a syniadau anorffenedig.

matt cook



Ethan Dodd: Loss

29.11.2017 – 16.12.2017
Drinks/Diodydd 29.11.2017, 6-8pm

Transience is of great importance to my process; each work is crafted for a particular exhibition or instance in my life, and once shown, is not shown again. From the corpse and remnants of this previous piece, another gestates and blossoms. As my work has developed, each further work has become an amalgamation of everything before it – culminating in an esoteric, visual language inspired by the serene beauty, mythology, and heritage of my country.

Through experimentation with ‘Dead matter’ as a material within my practice, I have come to favour ash and burnt matter as a symbolic material. Relating to notions of transmutation from different forms of existence, and a metaphor for industry and decay through the hands of man, I have become enamoured with the purifying aspects of cremation. Ash, the remnants, are inherently filled with goodness and nutrients to fertilise the next spring.

I consistently draw inspiration from my home; the South Wales Valleys, and the various economic, cultural and social problems faced by those who live there. The death of the Mining industry has created a very new landscape. A land full of dormant potential, but one that cannot forget the now-rusted ruins sprinkled throughout it, and the importance they once held to the rest of the world’s industry.

Mae trawsledd yn hynod bwysig i’m proses; mae pob gwaith wedi’i greu ar gyfer arddangosfa neu enghraifft benodol yn fy mywyd, ac unwaith y dangosir, ni ddangosir eto. O’r corff a gweddillion y darn blaenorol hwn, ystumiau a blodau eraill. Fel y mae fy ngwaith wedi datblygu, mae pob gwaith pellach wedi dod yn gyfuniad o bopeth o’r blaen – gan ddod i ben mewn iaith weledol esoteric a ysbrydolir gan harddwch, mytholeg, a threftadaeth serene fy ngwlad.

Trwy arbrofi gyda ‘Mater marw’ fel deunydd o fewn fy ymarfer, rwyf wedi dod o blaid cynffon a deunydd llosg fel deunydd mor hwyr. Yn gysylltiedig â syniadau o drosglwyddiad o wahanol fathau o fodolaeth, ac yn drosiant i ddiwydiant a pydredd trwy ddwylo dyn, rwyf wedi dod yn enamored ag agweddau pwrpasol amlosgi. Yn gynhenid, mae Ash, y gweddillion, wedi eu llenwi â daioni a maetholion i wrteithio’r gwanwyn nesaf.

Rwyf yn gyson yn tynnu ar ysbrydoliaeth o’r lle y cawsom fy nghodi; Cymoedd De Cymru, a’r amrywiol broblemau economaidd, diwylliannol a chymdeithasol a wynebir gan y rhai sy’n byw yno. Mae Marwolaeth y Diwydiant Mwyngloddio wedi creu tirwedd newydd iawn. Tir sy’n llawn potensial segur, ond un sy’n methu anghofio am yr adfeilion sydd bellach yn cael eu gwasgaru, a phwysigrwydd y gweddill diwydiant y byd.

poster 1


AJ Stockwell: Grannie’s Carpet Was Mental

8.11.2017 – 25.11.2017

drinks/diodydd: Thursday/ Dydd Iau 6-8pm, 9.11.2017

Event/ Digwyddiad: Sunday/ Dydd Sul 19.11.2017

What can you find in a carpet?

What can you learn from a carpet?

When you have more affection for this than the woman who owned it. For the woman who played a role, a character, but never gave more than a repeat performance.
Motivated by the death of her grandmother GCWM is an attempt by AJ Stockwell to gain familiarity with a woman she never knew through her own haphazard archive.

Be allwch ddarganfod mewn carped?

Be allwch ddysgu o garped?

Pan mae mwy o hoffter tuag at hyn na’r fenyw a oedd yn berchen arno. Tuag at y fenyw a chwaraeodd rhan, cymeriad, ond na roddodd mwy na ail berfformiad.

Wedi ysgogi gan marwolaeth ei nain mae GCWM yn ymdrech gan AJ Stockwell i ennill agosrwydd at fenyw nad oedd yn ei hadnabod trwy ei archif ar hap ei hun.


Gwenael Bodet: Theôrô
Friday 6.10.2017 – Saturday 28.10.2017
Wednesday – Saturday, 12:30 – 5:30
Opening drinks Friday 6.10.2017, 6 – 8pm
This title refers to the place where the gallery, the arcades, the showcases, are located: a shopping center. Theôrô refers to contemplation. So the residency begins with a piece called “Timeless landscape”, which shows a landscape where the sun never sets. There is also a game with the word “arcade” because all the work is connected to the universe of the video game. “Timeless landscape” is from a video game editor. This production takes place where, in a time of travel, an attempt to capture a culture, a form of fantasy, of virtual reality, but also of looting appears.
Gwenael Bodet: Closing Event
Wednesday 25 October. 5pm
As part of the ArcadeCardiff – Millefeuilles Nantes exchange, Gwenael Bodet has decided to end the artist residence with a special closing event.
Bodet has invited friends and artists from Nantes to play and perform, completing the exhibition that he has been working on since he arrived in Cardiff. His intention is to create a fully collaborative and connected show.
There will be five guests:
Loïc Comment and Melody Biaison will offer a mix of analogue landscapes, rhythmic poetry and video glitches.
Loïc Comment :
Melody Blaison :
Blanche Denarnaud will perform choreography, dressed in, bound by and decorated with cables.
Léa Viretto and Elliot Eugénie have been collecting images and videos that will become the material for a future project.
Elliot Eugénie :
Gwenael visits Cardiff as part of the Artists Exchange Program with Millefleuilles, Nantes, France. ArcadeCardiff will be hosting an exhibition exchange with RDV Gallery Nantes in the summer of 2018

Screen Shot 2018-01-05 at 17.08.54

Eugene Capper: Words & Chords
Eugene Capper’s show Words & Chords opens weds 20.09.17
Mae sioe Words & Chords gan Eugene Capper yn agor Dydd Mercher 20.09.17
Opening drinks on Thurs 21.09.17, 6-8pm.
Diodydd agored Dydd Iau 21.09.17, 6-8pm.
Our sister space, Three Doors Up, will be open too, with music by Ivan Moult.
Bydd Three Doors Up ar agor hefyd, gyda cherddoriaeth gan Ivan Moult.
21.09.17 – 30.09.17
weds-sat, 12:30 – 5:30
Mer-Sad, 12:30 – 5:30



Megan Winstone: Fenyw.
Private View: Thursday 31st | 6-8pm
31/08/2017 – 16/09/2017
Wed – Sat 12.30 to 5.30

Fenyw is a documentary series exploring various representations of womanhood. The photographs reflect a current zeitgeist characterized by explorations of female identity, femininity, sexuality and really awkward teenage years.

This generation of women have grown up with the Internet; this has had a profound effect on our mental stability regarding body image and acceptance. Being a woman is shit sometimes; we are still facing sexist remarks, struggling for equal pay and menstruation is treated as a taboo. Other than that bollocks, I love being a woman!

Womanhood is a state of mind and a commitment to social action.

Fenyw. Private View: Thursday 31st | 6-8pm

Arddangosfa – 30 Awst -16 Medi
Ar agor – Mer -Sad 12.30 – 5.30pm
Diodydd – Iau 3 Awst 6-8pm

Mae’r arddangosfa hon yn archwilio amryw o gynyrchioliadau o fod yn fenyw. Mae’r ffotograffau yn adlewyrchu zeitgeist cyfredol wedi’ nodweddu gan ymchwiliadau o hunaniaeth benywol, rhywoldeb, a blynyddoedd lletchwith yr arddegau.

‘Mae’r cenhedlaeth yma o fenywod wedi tyfu fyny yn oes y rhyngrwyd, mae hyn wedi cael effeith ddofn ar ein sefydlogrwydd meddyliol ynghylch delwedd corfforol a derbyniad. Weithiau mae bod yn fenyw yn gachu; rydym dal i wynebu sylwadau rhywiaethol, brwydro am cydraddoldeb tâl a mae’r mislif yn cael ei drin fel tabw, oni bai am hyna, dwi’n caru bod yn fenyw!

Mae bod yn fenyw yn feddylfryd ac yn ymrwymiad i weithrediad cymdeithasol.’



Eifion Sven-Myer: Matter into Light, Light into Matter

Wed 9.8.17 – sat 26.8.17
Drinks wed 9.8.17 @ 6-8pm
Deconstructed painting workshop sat 26.8.17 @ 2-5pm (places limited – contact the artist at to book)
Open weds – sat, 12:30 – 5:30

Mer 9.8.17 – Sad 26.8.17
Diodydd Mer 9.8.17 am 6-8pm
Gweithdy paentio Sadwrn 26.8.17 am 2-5pm (cysylltwch yr artist ar i archebu lle)
Agor mer – sad, 12:30 – 5:30

The stimuli of an image or object creates a visceral and personal experience. Each viewer’s visual memory bank plays a part in how they react emotionally and intellectually to an artwork. The title of the show is a celebration of the notion that an artwork is of material, seen by the viewer through light entering their eye and having in turn the material of their brain chemistry process the information. With this in mind Eifion Sven-Myer distorts recognisable forms in order to create unusual visual concoctions to tease out unexpected reactions. Fascinated by breaking down imagery and seeing what sort of emotional reactions can be induced as a result.

Most of the artworks in the show have been worked on for long periods of time, often being left for months at a time, then re-worked/taken apart and re-assembled into a different configuration.

In Sven-Myer’s opinion, by distorting an image/object enough on one level, yet balancing it with a recognisable form takes the mind into a nebulous space of contemplation. Creating an inward sensation that pure representation or unadulterated abstraction cannot achieve. To further augment this feeling he combines mediums; painting with sculpture, animation and film -playing with preconceptions of what for instance a traditionally stretched canvas painting is or can be.

Mae ysgogiadau llun neu gwrthrych yn creu profiad perfeddol a phersonol. Mae banc cof gweledol pob gwyliwr yn chwarae rhan yn sut meant yn ymateb yn emosiynol ac yn ddeallusol i ddarn o waith celf. Mae teitl y sioe yn ddathliad o syniad fod gwaith celf o ddefnydd, sy’n cael ei weld gan wyliwr trwy golau yn treiddio i mewn i’r llygad ac yn ei dro mae cemegion yr ymennydd yn prosesu y wybodaeth. Gyda hyn mewn golwg mae Eifion Sven-Myer yn ystumio ffurfiau adnabyddus i greu cymysgedd gweledol anarferol i weld ymatebion annisgwyl.

Mae gwaith ar rhan fwyaf o’r gwaith celf yn hir dymor, yn aml yn cael ei adael yn segur am fisoedd, yna’n cael ei ddatgymalu neu ail-wneud mewn ffurf gwahanol.

Yn ol Sven-Myer, trwy ystumio delwedd/ gwrthrych ar un lefel, ond ei gydbwyso gyda ffurf adnabyddus, mae’n cymeyd y meddwl i ofod nifylaidd o arsylliad.,gan greu teimlad mewnol na all cynrychioliad neu haniaethiad pur ei gyflawni. Mae Sven –Myer yn cyfuno paentio å cerflunio, animaeiddiad å ffilm, gan chwarae gyda canfyddiad o beth ‘all canfas traddodiadol fod.

Image to send to Hannah


Philippa Brown: Witchcraft for Club Kids

Wednesday 19 July – Saturday 5 August
Wednesdays – Saturdays, 12:30-5:30

Friday 21 July @ 6-8pm: opening drinks
Friday 28 July @ 2-4pm: tshirt collaging workshop – BYO tshirt!

I make paintings, assemblages and sculptures using easily manipulated, found, discarded and new materials. My approach to manufacturing and making is direct and handmade to develop a fictional response to ideas and concerns.
My process involves firstly making, choosing and assembling materials in a direct and instinctive way based on drawings and ideas and then reflecting on these initial explorations and reevaluating the work in terms of scale, texture, colour and form. I progress by adding materials and processes, dismantling, removing and remaking over time while looking to establish the character and eccentricity of the work.
These processes and working practices have evolved as a result of an interest in materials, decoration and adornment. I enjoy the dialogue and relationships between the old/new, intentional/accidental, beautiful/ugly, formal/informal.

I am presenting new work at ArcadeCardiff. The sound piece has been produced in collaboration with artist Ian Watson.

Philippa Brown: Witchcraft for Club Kids

Mercher 19 Gorffennaf- Sadwrn 5 Awst
Mercher- Sadwrn 12.30-5.30

Gwener 21 Gorffennaf 6-8pm: Noson Agoriadol
Gwener 28 Gorffennaf 2-4pm: Gweithdai collage crysau-t, dewch a crysau-t eich hunain!

Rwy’n gwneud paentiadau, cydosodiadau a cerfluniau gan ddefnyddio deunydd sy’n hawdd i’w drin, deunydd wedi ei ddarganfod, deunydd newydd a deunydd wedi ei daflu. Rwy’n mynd i afael â’r pwnc yn uniongyrchol ac thrwy waith llaw i ddatblygu ymateb ffuglennol i syniadau a diddordebau.
Mae fy mhroses yn cynnwys yn gyntaf gwneud, dewis a hel deunydd at ei gilydd mewn modd reddfol ac uniongyrchol yn seiliedig ar ddarluniau a syniadau ac yna gan adlewyrchu ar yr achwiliadau cyntaf yma ac ailasesu y gwaith gan gyfeirio at graddfa, lliw a ffurf. Rwy’n symud ymlaen drwy ychwanegu deunydd a phrosesau, datgymalu, dileu ac ailwneud dros gyfnod o amser gan edrych i sefydlu y cymeriad ac echreiddiad y gwaith.
Mae’r prosesau hyn ac ymarferiad gwaith wedi datblygu o ganlyniad i fy niddordeb mewn deunyddiau ac addurniad. Rwy’n mwynhau y dialog a’r perthynas rhwng yr hen/newydd, bwriadol/damweiniol, prydferth/hyll, ffurfiol/anffurfiol.

Rwy’n cyflwyno gwaith newydd yn Arcadecardiff. Mae’r darn sain yn waith ar y cyd â’r artist Ian Watson.




Simon Fenoulhet: Orbit
21.6.17 – Sat 8.7.17
Weds – Sat, 12:30 – 5:30
Drinks: weds 21.6.17, 6 – 8pm

My work explores our preconceptions of the material world by manipulating everyday objects, sometimes with unexpected outcomes. The recurrent theme is one of transformation, re-presenting the familiar in ways which make us take a second look at what’s around us. By making light an integral part of each piece, the works become autonomous objects that can take on new meanings, subverting their original function in an elevation of the ordinary.

The work in this exhibition has light as both the subject and the medium, giving us three different ways to think about where light comes from, how it’s projected and transmitted.

Counting in Colour is a series of long light boxes piece that sit on the floor to make a continuous row of illuminated coloured lines formed by many hundreds of plastic and wooden cocktail sticks. The opaque sticks in between the colours separate the colours and allow us to see each one distinctly as if they are part of a linear colour code to be read my machine.

Solar Transit is a video of the Sun as it crosses the sky, entering the frame and exiting over a period of nine minutes. Observing the Sun is difficult and requires special equipment, but doing so reveals a volatile body that holds us in orbit and provides us with our light as we hurtle through space. As the Sun crosses the sky, it reveals the speed of the earth’s rotation during the day.

Orbit explores projected light with a motorised magnifying glass and a light source which casts patterns around the room. The lens gathers the light and focuses it onto the wall, briefly picking up the detail of the torch’s bulb and reflector until the light is spread around the edges of the space only to come full circle again in a repeating pattern of light and shadow.

These works continue my exploration of light as a medium through which we see the material world as well as a more recent interest in natural light in all its variations. I’m currently interested in atmospheric optics, where optical effects are caused by particles, water or ice in the atmosphere. Some of these effects are well known such as rainbows and mirages while others such as noctilucent clouds and solar halos are less well known.

Simon Fenoulhet: Orbit
21.6.17 – Sad 8.7.17
Mer – Sad, 12:30 – 5:30
Diodydd: Mer 21.6.17, 6 – 8yh

Mae fy ngwaith yn archwilio rhagdybiau o’r byd materol gan drin deunydd dydd i ddydd, weithiau gyda chanlyniadau annisgwyl. Mae’r thema dychweliadol yn un o drawsnewidiad, yn cynyrchioli y cydnabyddys mewn ffyrdd sy’n gwneud i ni ail-edrych ar beth sydd o’n cwmpas. Gan wneud golau yn rhan annatod o bob darn, mae’r gwaith yn dod yn wrthrychau ymreolus sy’n gallu cymryd ystyron newydd gan ddymchwel eu gweithrediad gwreiddiol.

Mae’r gwaith yn yr arddangosfa yn cynnwys golau fel cyfrwng a thema, gan rhoi tri ffordd wahanol i feddwl am ble mae golau yn deillio, sut mae’n taflunio a throsgwyddo.

Mae Counting in Clolour yn gyfres o flychau golau hir sy’n eistedd ar y llawr gan greu rhes parhaol o linellau lliw wedi’ ffurfio gan canoedd o ‘cocktail sticks’ pren a phlastig. Mae’r ffyn afloyw rhwng y lliwiau yn gwahanu’r lliwiau ac yn ein galluogi i weld pob unyn eglur fel petaen yn rhan o gôd lliwiau yn cael ei ddarllen gan beiriant.

Fideo o’r haul fel mae’n croesi’r awyr yw Solar Transit, yn dod i mewn i’r ffram ac yn ymadael dros gyfnod o naw munud. Mae gwylio’r haul yn beth anodd ac yn mynnu offer arbennig, ond mae gwneud yn datgelu corff tanllyd sy’n ein dal yn orbit ac yn darparu golau tra rydym yn hyrddio drwy’r gofod. Fel mae’r haul yn croesi’r awyr, mae’n datgelu cyflymdra cylchdro y ddaear yn ystod y dydd.

Mae Orbit yn archwilio golau wedi ei daflu gyda peiriant chwyddwydr a ffynhonnell golau sy’n taflu patrymau o gwmpas y ‘stafell. Mae’r lens yn casglu golau ac yn ei ffocysu ar y wal, gan bigo fyny manylion bylb ac adlweyrchydd y tors tan mae’r golau yn cael ei wasgaru o amgylch min y gofod, i wneud cylch lawn eto gan greu patrwm o olau a chysgod, gan ailadrodd.

Mae’r gwaith yn parhau fy archwiliad o olau fel cyfrwng trwy sut rydym yn gweld y byd materol yn o gystal a diddordeb mwy diweddar mewn amrywiadau o olau naturiol. Ar hyn o bryd mae gen i ddiddordeb mewn optigau atmosfferaidd, ble mae effeithiau optegol yn cael ei achosi gan ronynnau, dwr neu rhew yn yr atmosffer. Mae rhai o’r effeithiau yn wybodus i ni fel enfysau a rhitholygfeydd tra mae eraill fel cymylau ‘noctilucent’ a lleugylchau solar yn llai adnobyddus.



Thresholds is a multi-disciplinary group exhibition beginning with Fine Art Masters students and ending with Master of Design students from Cardiff School of Art and Design.

Thresholds can be defined as the level at which one starts to feel or react to something, but also as a beginning point in time and entry of a space. Through a combination of painting, drawing, sculpture, photography and performance, different thresholds, both individual and collective emerge.

The works present moments of tension, change, memory, progression, intimacy and boundaries as both the body and human experience are documented and transformed.

The final three days of the exhibition will feature work from Design Masters students with multicultural works ranging from architectural designs to immersive installation works.


29th May – Private View from 6 PM – 8 PM – A selection of all MFA student work.

29th May – 31st May – Gestures
(Jason Gregory, Mylo Elliot, James Brook)

1st June – 3rd June – Deconstruction
(Carys Elen Jones, Wendy McLeod, Rebecca Vinesse, Barbara Post)

4th June – 6th June – Body
(Felicity Lockyear, Charlotte Morgan, Brendon Stokes)

7th June – 9th June – The Eclectic – featuring work from Masters of Design students at Cardiff School of Art and Design.

MFA Artists
James Brook
Jason Gregory
Milo Elliot
Charlotte Morgan
Felicity Lockyear
Wendy McLeod
Brendon Stokes
Carys Elen Jones
Barbara Post
Rebecca Vinesse Mondain
Masters of Design
Aleksandra Kraj




Bojan Radovič: The Icon/The Star

Two exhibition units this month! We have teamed up with DIFFUSION 2017.

They are located between Ryman and Be Gorgeous on the Argos entrance to QA. Queens Arcade, Cardiff CF10 2BY

Wednesday – Saturday. Mercher – Sadwrn, 12.30-17:30.

04/05/17 An evening event with the artist.time tbc.

In The Icon/The Star, Slovenian artist Bojan Radovič examines how the five-pointed star as a revolutionary symbol is appropriated and re-used in a contemporary globalised world. With the fall of the Berlin wall and the demise of communism in Europe, the red star is progressively emptied of its ‘original’ meaning. Today, as time passes, the star symbol simply floats around different countries and brands, in various advertising and consumer contexts. Radovič points to this shifting of the meaning of the star as the consequence of the capitalist process of re-branding, which slowly and steadily divests the red star of its historical and revolutionary power. Rather than simply observing this phenomenon, the artist highlights a revolutionary symbol that is caught in the process of being assimilated into the easy consumerist world of capitalism and emptied of its past socialism. Radovič is also concerned with how the act of photographing the star in such contexts prompts new ways of seeing the image and thinking about its meaning. Unfettered from its more indexical meaning, the red star signifies things other than itself, as part of a wider system of signs.


Yn The Icon / The Star, mae’r artist o Slofenia, Bojan Radovič, yn edrych ar y modd y caiff y seren bum-pwynt, symbol o chwyldro, ei pherchnogi a’i hail-ddefnyddio mewn byd cyfoes wedi’i globaleiddio. Yn dilyn cwymp mur Berlin a thranc comiwnyddiaeth yn Ewrop, cafodd ystyr wreiddiol y seren goch ei gwagio a’i newid. Erbyn hyn, ac wrth i amser fynd heibio, mae symbol y seren fel petai’n arnofio – mewn gwledydd ac mewn brandiau gwahanol, mewn hysbysebion ac mewn cyd-destunau amrywiol. Mae Radovič yn tynnu sylw at y newidiadau hyn, fel canlyniad i’r broses gyfalafol o ail-frandio. Mae honno yn broses sydd, yn raddol, wedi lleihau grym hanesyddol a chwyldroadol y seren goch. Ond yn hytrach nag arsylwi’r ffenomen hon yn unig, mae’r artist yn cyflwyno symbol chwyldroadol sydd yn cael ei chymhathu gan fyd prynwriaethol cyfalafol, a thrwy hynny yn cael ei gwagio o’i gorffennol sosialaidd. Mae Radovič hefyd yn ymwneud â’r modd y mae tynnu lluniau o’r seren mewn cyd-destunau o’r fath yn annog ffyrdd newydd o weld y ddelwedd – a ffyrdd newydd, felly, o ystyried ei hystyr. Wedi’i rhyddhau o’i hystyr gwreiddiol, mae’r seren goch yn dynodi pethau eraill bellach ac yn rhan o system ehangach o arwyddion.


 Screen Shot 2017-05-09 at 10.46.22

Screen Shot 2017-05-09 at 10.43.24


C-k_rwIW0AEACZzRosanna Blatchford: A-drift 

19/04/17 -06/05/17

Eng: Rosanna Blatchford is presenting her fragile studio; working in relation to her concerns as an artist and how we relate to the world around us. Collecting objects invested with personal and common memory, such as shells from particular places, the work looks at the transitory nature of the world and the idea we are all ripples on a beach as reality constantly shifts around our presence. This sense of dislocation informs the title A-driftThroughout her presentation of ideas and objects at ArcadeCardiff the display will change and shift as work is placed and balanced in temporary configurations contra to the classical understanding of sculpture and the false notion of intended permanence. The material sourced in the environment is intentionally untreated and not fashioned to any degree as it is important that we do not apply a narrative seeded by our expectations as gallery visitors. Here, Blatchford’s concerns are the nature of display and how this fabricates a narrative. In researching the methodologies of display, her work seeks to draw back to the object’s moment and truth; their position in the world at the time of their discovery. For ArcadeCardiff, she has transposed her studio into the gallery, blurring the lines between research and resolution as the exhibition exists in a state of flux. She will be present at points throughout the exhibition to discuss her practice. Rosanna Blatchford graduated from University of Wales Newport 2014. ARCADECARDIFF Artists Residency program exists to provide space for thinking. It is not dependent on the presentation of an exhibition in the formal sense but allows a presentation of thoughts in process and a dialogue with audiences through objects and ideas. It is a place of creative and intellectual personal development for artists outside the world of expectation.

Cym: Mae Blatchford yn cyflwyno ei gwaith stiwdio bregus sy’n unol a’i meddyliau fel artist a sut rydym yn perthyn i’r byd o’n hamgylch. Gan gasglu gwrthrychau yn glwm ag atgofion cyffredin a phersonol, fel cregyn o lefydd penodol, mae’r gwaith yn edrych ar natur byrbarhaol y byd a’r syniad ein bod yn donnau man ar draeth wrth i realiti symud o’n cwmpas. Y datgymaliad yma sydd wedi ysbrydoli A-drift. Bydd yr arddangosfa yn newid drwy-gydol ei chyflwyniad o syniadau a gwrthrychau yn Arcadecardiff. Bydd y gwaith yn cael ei osod a’i sefyll mewn cyfluniadau dros dro, yn gyferbynnol i’r dealltwriaeth clasurol o gerflunwaith a’r syniad ffug o barhauster. Nid yw’r deunydd o’r amgylchedd wedi’i addasu na ei drin, am ei fod yn bwysig i ni beidio gosod naratif o’n disgwyliadau fel ymwelwyr. Yma mae Blatchford yn trafod natur arddangos a sut mae’n llunio naratif. Gan ymchwilio i fethodoleg arddangos, mae ei gwaith yn mynd yn ol at ennyd a gwirionedd y gwrthrych; eu safle yn y byd pan y darganfyddwyd. Ar gyfer Arcadecardiff, mae Blatchford wedi trawsosod ei stiwdio i’r oriel, gan daflu niwl dros ffiniau rhwng ymchwil a datrys wrth i’r arddangosfa lifo. Bydd yn bresennol ar adegau trwy gydol y cyfnod arddangos i drafod ei phractis. Fe raddiodd Rosana Blatchford o Brifysgol Metropolitan Caerdydd. Mae rhaglen cyfnod preswyl Arcadecardiff yn bodoli i ddarparu gofod i feddwl, Nid yw yn ddibynnol ar gyflwyniad arddangosfa mewn modd ffurfiol ond mae’n galluogi cyflwyniad meddyliau mewn proses a dialog gyda chynulleidfaoedd drwy syniadau a gwrthrychau. Mae’n le i ddatblygu gallu creadigol a dealltwriaeth, tu allan i fyd o ddisgwyliadau.


Piece (412)Sahar Saki: New Collection

30/03/17 – 15/04/17

Eng: Jewellery: Sahar Saki presents a new collection of bold contemporary jewellery designs, in silver and 3d printed material, derived from her current research into modern architecture. Her work features striking incorporation of geometric elements, infused by Minimalism and the Bauhaus school. The building that has specifically shaped this new collection has been the Principality Stadium (formerly known as the Wales Millennium Stadium). Sahar originally studied Industrial design and since 2010 has concentrated on creating jewellery influenced by product design and modernist architecture. Sahar Saki: New Collection

CYM: Gemwaith: Mae Sahar Saki yn cyflwyno casgliad newyddemwaith cyfoes mewn arian a deunydd argraffu 3d, yn deillio o’i ymchwil diweddaraf ar bensaernïaeth modern. Mae ei gwaith yn cyfuno elfennau geometrig trawiadol, gyda ysbrydoliaeth gan Lleiafsymiaeth a Ysgol y Bauhaus. Yr adeiladdylanwadodd y casgliad newydd yw Stadiwm Y Principality (Stadiwm Mileniwm Cymru gynt). Astudiodd Sahar Dylunio Diwydiannol ac ers 2010 mae wedi bod yn canolbwyntio ar greu gemwaith wedi ei ddylanwadu gan ddylunio cynnyrch a phensaernïaeth fodernaidd.


Richard Higlett: After & Before

08/03/17 – 25/03/17

ENG: After and Before draws on Richard Higlett’s fascination with the ideas and writings of the Irish polymath J. W.  Dunne. In various papers and consolidated in An Experiment with Time (1927) and The Serial Universe (1934) Dunne discusses the notion that time is not linear and dreams are made of fragments of the future. Dunne’s work runs parallel to theories on quantum physics and suggests we can mentally travel to other points in time and be physically present in them. Dunne’s ideas have informed popular culture most notably in Richard Matheson’s novel Bid Time Return (1975) which was made into the film Somewhere in Time  (1980) and most recently in The Story of Your Life by Ted Chiang which was adapted into the film Arrival  (2016). This take on time travel and perception is referred to directly in a text in the space which suggest it as a photocopy from a magazine yet to be published. As an activity, the gallery will contain 20 unhung works stacked against the walls. These are waiting for any viewer to hang and curate the exhibition themselves. Once the work is hung and the moment is acknowledged, the paintings are quickly returned to a stack as the pack is reshuffled. The result is an exhibition in flux as installation and presentation becomes a cyclic process with outcomes intentionally brief and the idea that anything is finished or resolved is questioned. The 20 monochrome paintings refer to the chromatic mean colours of the planets and moons in the solar system. This suggests that there is an order to these immovable truths as they are at different distances from the Sun. In not revealing the linear order of the paintings, the system is defined by the viewer and opinion replaces truth or factual evidence. Higlett is also interested in the location of ArcadeCardiff in a Shopping Mall and views the exhibition as a ‘prop’ or simulation of an actual exhibition, just as the adjacent shop change their displays. Alongside After and Before, Higlett will be creating a free download edition, a digital typeface based on particles of dust and dirt. When the gallery is closed he will be documenting other shows; the alternatives he could have displayed instead. This sideshow will be documented only on line. A talk on the ideas behind the installation at ArcadeCardiff will be held at 2pm on Sunday 26th March, the day after the exhibition has closed and during the de-install.

CYM: Mae After and Before yn ffocysu ar ddiddordeb Richard Higlett mewn syniadau ac ysgrifau y Gwyddel hollddysgedig J.W. Dunne. Mewn nifer o bapurau, ac wedi‘ chadarnhau yn An Experiment With Time (1927) a The Serial Universe (1934) mae Dunne yn trafod  y syniad fod  amser ddim yn unllin a fod breddwydion yn ddarnau o’r dyfodol. Mae gwaith Dunne yn debyg I theorïau ffiseg cwantwm ac yn awgrymu fedrwn deithio yn feddyliol i wahanol fannau o amserbod yno’n gorfforol. Mae syniadau Dunne wedi dylanwadu ar ddiwylliant poblogaidd fel Bid Time Return (1975) nofel gan Richard Matheson sydd wedi ei thrawsnewid i ffilm or enw Somewhere In Time (1980) ac hefyd y ffilm Arrival (2016) a oedd yn seliedig ar  The Story of Your Life gan Ted Chiang. Mae’r agwedd yma at deithio mewn amser a chanfyddiad yn cael ei gyfeirio yn rhy uniongyrchol mewn testun yn y gofod sy’n awgrymu ei fod yn lungopi o gylchgrawn sydd eto i’w gyhoeddi. Fel gweithgaredd, bydd yr oriel yn cynnwys 20 darlun heb ei hongian mewn pentyrau yn erbyn y waliau. Maent yn aros i’r gwyliwr i hongian a churadu’r arddangosfa eu hunain. Unwaith maent i fyny ar y waliau a’r foment wedi‘ chydnabod, mae’r darluniau yn cael eu dychwelyd yn ôl i’r pentwr ac yn cael eu ailgymysgu. Y canlyniad yw arddangosfa sy’n llifo tra mae gosodiad a chyflwyniad yn dod yn broses gylchol gyda chanlyniad bwrpasol fyr a’r syniad bod unrhywbeth wedi‘ orffen neu wedi ei benderfynu yn cael ei gwestiynu. Mae’r 20 darlun unlliw yn cyfeirio at liwiau cymedrig cromatig y planedau a lleuadau yng nghyfundrefn yr haul. Mae hyn yn awgrymu bod trefn i’r gwirionedd ddisymyd am eu bod gwahanol pellteroedd o’r haul. Trwy beidio datgelu trefn y darluniau, mae’r system yn cael ei bendefynu gan y gwyliwr ac mae barn yn cymryd lle tystiolaeth ffeithiol. Mae gan Higlett hefyd ddiddordeb yn lleoliad Arcadecardiff, mewn rhodfa siopa ac yn gweldsioe fel prop neu ddynwarediad o arddangosfa, fel mae siopau cyfagos yn newid eu arddangosfeyddYnghyd After and Before, bydd Higlett yn creu fersiwn lawrlwytho am ddim, gwynebfath digidol yn seiliedig ar ronynnau o lwch a baw.
Pan mae’r oriel ar gau mi fydd yn dogfennu sioeau eraill, gwaith eraill y gallai wedi arddangos yn lle. Bydd y Sideshow yma yn cael ei ddogfennu ar lein yn unig. Bydd sgwrs i drafod syniadau tu ôl i’r gosodiad yn cael ei gynal am 2pm Dydd Sul 26ain o Fawrth, diwrnod ar ol i’r arddagosfa orffen ac yn ystod y dadosodiad.

archive 2016 ac cic

archive 2015 ac cic

archive 2014 ac cic



Arcadecardiff space

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s