Haptic/Tacit: In Search of the Vernacular

Jane Cairns / David Gates;  Grant Aston / Henry Pim;  Kim Norton / Gail Mahon;  Kimberley Chandler / Mark Cousins

Haptic/Tacit is a collective of artists/makers and writers. The group exists to make, show and explore ambitious modern craft.

The vernacular, in architecture as in language, is rooted in the everyday and the prosaic. It is formed of use and habit; it is local and specific; it is concerned with the functional or the domestic rather than the public or monumental. In Search of the Vernacular uses the human scale of contemporary craft to provide a fresh perspective on aspects of vernacular architecture.

The work in the exhibition is gallery based contemporary craft including sculptural ceramics, installation and bespoke furniture. Exhibiting makers are paired, working either in collaboration or thematically linked. Writing and discourse are an integral part of the exhibition and it will be accompanied by a new publication and a considered programme of events designed to stimulate debate and engagement.

Programme of Events – Haptic Tacit

Image: Density and Stillness, 2017, Grant Aston  Photographer: Michael Harvey

Celebrating Young Artists

Criw Celf at Oriel Myrddin Gallery creates opportunities for young people ranging in age from 9-14 years of age to work with professional artists and designers in a series of visual arts Masterclasses. The exhibition in the main gallery space is a curated sample of the young people’s work created throughout 2018.

Criw Celf is an Arts Council of Wales funded pan-Wales project for gifted and talented young artists.

 

 

Criw Celf Secondary animation workshop with artist Sean Vicary

Criw Celf Claymation from Oriel Myrddin Gallery on Vimeo.

 

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Chair

Few objects tell the history of modern design more eloquently than the chair. Aesthetic trends, the emergence of new materials and production technologies, ergonomics, social, cultural and behavioural changes are all reflected in its design over the decades.

A selection of chairs from the Design Museum’s collection reveal how chair design has developed from the late 1800’s to contemporary innovations by prominent designers. A small selection of historical Welsh chairs have been kindly loaned by Carmarthenshire County Museum, Tim Bowen Antiques and from private collections.

 

Read Chair Talk a blog written to accompany the show by Dr. Pete Spring Ph.D FRSA, FHEA, Senior Lecturer in Product Design and MA Portfiolio Director at Swansea College of Art, University of Wales Trinity Saint David.

Images: Marc Newson, Fibreglass Felt Chair, 1994 and Konstantin Grcic, Chair_One, 2003 © the Design Museum

 

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I came like all the ghosts at once is an oral and visual retelling of the Sea Empress oil spill that occurred off the coast of Pembrokeshire in 1996. It brings together research, verbal accounts, archival material, people and places encountered by the artist during her 2016 ‘Sea Empress’ Project.

Filmed across sites in Pembrokeshire the narration, written by Rachel Marshall and recited by poet Gillian Clark, represents a collection of people’s memories of the oil spill. Describing an immediate physical and aural shift of register after the disaster, the work explores the deep symbolic and allegorical richness of the landscape and imagines new interpretations and alternative, ‘more-than human’, ecological states of being for the future.

I came like all the ghosts at once is funded by the Arts Council of Wales.

 

Roger Cecil + 4 Contemporary Painters

Helen Booth Laura Edmunds Catrin Llwyd Evans Sarah Poland

Roger Cecil + 4 Contemporary Painters is a collaborative exhibition between TEN., the estate of Roger Cecil and Oriel Myrddin Gallery, celebrating both contemporary painting in Wales and Cecil’s important contribution to the medium.

“The reputation of Cecil’s paintings is hard to ignore – especially for practicing painters. The seriousness, independence and diligence of Cecil practice is renowned and his sensitive treatment of paint admired.

Similar and overlapping qualities exist between the painters, which is dominated by the expressive use of paint as a material; from pure abstraction seen in Edmund’s work; to the tradition of plein air painting, common in Poland’s practice. Booth’s deep love for the Welsh landscape and the abstraction of the figurative prevalent in the work of Llwyd Evans can all find reference to Cecil’s output.

The viewer might connect a visual resemblance between the four painters and Cecil – whether thematically, through a similar palette or in the treatment of materials – but the comparison here is far greater than visual language alone. The impulse of a painter, the sensibilities and nuances between painters, the influences felt and distilled through looking, experiencing and knowing another artist’s practice is clear to perceive. That which is on offer to the audience, as it reads and responds to each of the artists on display, is the same – an emotional, intellectual and spiritual expression of human experience as translated through the eyes and hands of kindred spirits.”

Cat Gardiner, TEN. 2017

 

Find out more about the artists:

Helen Booth

Laura Edmunds 

Catrin Llwyd Evans 

Sarah Poland

 

Images:

(Top) Roger Cecil:  Untitled 1997, Mixed Media on Paper,  47 x 43 cm

Catrin Llwyd Evans:  Concrete 2017, Oil on Canvas Paper, 11 x 13cm

Helen Booth:  Intangible Envy 2017, Oil on Canvas,  diptych of 2x 90 x 122cm

Sarah Poland: Neon and Rust 2015, Oil, Acrylic, Iron Filings, Salt and Graphite Dust on Canvas, 200 x 100cm

Laura Edmunds:  an exercise in making all the wrong marks #2 2017, Drafting Film, Soft Pastel and Oil Paint, 48 x 35 cm

Programme of events – Rhaglen Ddigwyddiadau

 

 

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