Maura Hazelden

y lle hwn, yma : this place, here

2011-08-03T09:07:00.001+01:00

Please follow this link to y lle hwn, yma : this place, here, and exhibition in Caerdydd|Cardiff in september. Documentation of the show plus the video Flighty Whispers...

croeso welcome

2011-07-21T19:30:00.000+01:00

This will be an archive of my art work. I will create an entry for each event/exhibition and date it for the end of the month in which it occurred. it will take some time to be complete the archive.....but I will try to keep up to date.

Wales dance Platform

2011-07-02T10:13:00.000+01:00

Tarantela yn erbyn y wâl: dawns i arbed fy mywyd cyn i mi gyrraedd 50

Tarantella against the wall: a dance to save my life before I’m 50

showing at Chapter Arts Centre 1-3 July 2011

Contexture, University College Falmouth

2011-06-30T11:22:00.002+01:00

Dw i'n crwydro byd yn chwilio am fy ngrud

Contexture, Woodlane Campus, University College Falmouth June 2011
woven paper on string, old paper [perhaps 40 years or more] printed, text printed on canvas.

about the creation
words printed on canvas

It was in a cube space of its own - I failed to take a photo of whole space - two people have said they will send image...but haven't...

by the accidental dropping of the D in the title, it became a question.
more words added on seing the work [it was in a lovely three sided cube...space...

Dw i'n crwydro'r byd...additional words, in the wake of

2011-06-07T10:08:00.002+01:00

one speaks while hearing one’s own speaking, wedding the self and sound as a singular event... since the voice is capable of being internalized at the same time as it is externalized, it can spill over from subject to object and object to subject, violating the bodily limits upon which classic subjectivity depends (LaBelle, B. (2010). Background Noise. New York/ London: Continuum)

The voice is also felt in the body: it vibrates, through breath, in the diaphragm, the folds of the vocal chords and in the eardrum.

Words that desire to be said, that cannot be said, not publically said. The unsaid is part of us is held, holds us. Words woven into a nest that sits in the hand, long string imply possible future weavings. Words made material, 3 dimensional, words safe enough to give to you – but silent, unreadable words. I also give my words to a stranger [ripped into strips, rearranged, retyped, remade], he sits back to back with me, reads my fragmented words, I cannot see him, I can hear his voice as he spills his/my body out, I feel my words as his rib cage resonates against mine. Self and other.

I embody the words. I disembody the words – hand them over, both readable and unreadable, I re-embody the words both feeling/hearing them come back to me and as I weave. I hear and feel my words but do not speak them.

Cosmic Housekeeper at Milkwood gallery's pitch at Chapter's 40th birthday art car boot

2011-04-30T10:10:00.002+01:00

link to set of cosmic housekeeper images

Dw'n crwydro'r byd yn chwilio am nghrud

2011-03-29T11:32:00.004+01:00

at Beyond Text: Making and Unmaking Text
Centre for Creative Collaboration
London
January 28th 2011

I sat weaving, a man sat back to back with me reading my words, the words fragmented from their sentences to make new meaning.
We weave our complicated lives? Bad and good, distressing and pleasing. Can we hold it? Are we held by it? Re-making the words I present the difficult side of my life; they can then be held in your hand. Words are spoken. a sense of closeness for the performing strangers, each others movement felt by each other.
weave : leave. weft : left. public : private. truth?

follow this link for a bit more information

Arranged 7 curated by Becky Cremin & Ryan Ormonde
Funded & assisted by AHRC: beyond Text; Royal holloway, University of London and The Centre for Creative Collaboration.

a research blog

2011-03-19T10:42:00.001Z

might be of interest...especially if I regularly post to it:
fold into haptic

Holy Hiatus book & symposium

2011-03-07T18:36:00.002Z

A link to the book "Holy Hiatus" at Parthian books website

also the 2nd symposium that took place in September 2010 now has viseos and update on the website - click here for link

Art at Rhosygilwen

2010-06-22T13:35:00.007+01:00

I will be showing work at Art at Rhosygilwen, arts festival, July 3rd & 4th

in the exhibition:

Tarantela yn erbyn y wâl: dawns i arbed fy mywyd cyn i mi gyrraedd 50
Tarantella against the wall: a dance to save my life before I’m 50

Tarantella: a dance to remove the poison and melancholy of the spider's bite, a dance to save your life.

I examine myself, my body …not a youthful body any longer, physical limitations, psoriasis, notions of depression, melancholy and what are we do about such emotions?
Alongside this are my continuing investigations of movement and stillness, which captures movement best, moving or still images (wrote my first essay on this in 1983)? In what ways do we believe photography? If I tell you this is taken with a compact camera with no cable release; and these are not stills from a video…. How do you read it?
At times it is impossible for me to dance due to psoriatic arthritis…so how do I set out to save my one, precious life? And how do I feel about wearing a petticoat in a smooth skinned slim youth beauty culture?

a slow tarantella by L' Arpeggiata - "remember you must die" can be listened to here

around and about:

Cosmic housekeeper: sweeping the yard
Gwraig cadw tŷ cosmig: ysgubo’r llathen

Turning the ordinary into the extraordinary. A square yard is defined by four tape measures – metric on one side, imperial the other, pinned together. A small quadrant of the universe is designated for cleaning. All manner of brushes and cloths are used.
Conversations sometimes occur… about domestic things, a particular one I remember is about an old tradition, from maybe just my locality, of cleaning slate floor slabs then drawing a pattern with dock leaves.

see previous entry

holy hiatus iii

2010-05-25T17:15:00.001+01:00

6 images very very very slowly dissolved from one to next. the first two from preparatory work, the second two from HH i the third pair from HH ii

a plant project for the Arnolfini, Bristol

2010-04-30T14:01:00.003+01:00

a new collaboration with flo fflach, available as a publication

link to the start of the trail here

Holy Hiatus III

2010-04-27T14:10:00.014+01:00

performance
Saturday May 22
4 – 10.15 p.m.
Small World Theatre
Cardigan

perfformiad
Dydd Sadwrn Mai 22
4 – 10.15 y.p.
Canolfan Byd BychanAberteifi

This ongoing collaboration between Maura Hazelden & Lou Laurens explores the relationship between the material and the immaterial through image, voice and movement. Can the physical change consciousness, create sacred space, evoke the “holy”?

Mae’r cydweithrediad parhaus hwn rhwng Maura Hazelden & Lou Laurens yn archwilio, drwy ddelwedd, llais a symudiad, y berthynas rhwng y materol a’r anfaterol. A all y corfforol newid ymwybyddiaeth, creu gofod cysegredig, galw ar y ‘sanctaidd’?

A limited audience at any one time. Refreshments available.
Cynulleidfa gyfyng ar unrhyw un adeg. Lluniaeth ar gael.
unfunded untitled unrehearsed

heb deitl heb gyllid heb ymarfer

from 2009

sensing listening sounding
sensing listening moving

Sunday 16th May/Dydd Sul, 16fed Mai

2 parallel workshops with Maura Hazelden (movement) & Lou Laurens (voice).
£20 Booking essential
Cardigan/Aberteifi
Workshop: 2.30pm - 6pm. Shared space: 7pm – 8.30pm.

WORKSHOP POSPONED
For further information about the performance or workshop please Email: sensinglistening@googlemail.com Tel: 01239 891603

link to further details of the workshop

link to all Holy Hiatus entries....with further links to writing....

Lines & Strata

2010-03-04T09:53:00.004Z

An open exhibition presenting a cross section of contemporary drawing practice from artists across Wales

Arddangosfa agored sy'n cyflwyno croestoriad o arferion darlunio cyfoes o bob cwr o Gymru.

Oriel Llyfrgell Dinbych/Denbigh Library Galery

Sgwar y Neuadd, Dinbych

06.03.2010 - 17.04.10

holy hiatus 3, 4 & 5: repetition & stillness

Drawing has always paid an important part in my life. My two favourite methods being pencil (currently Staedtler EE) and pen & ink. The work has ranged from near botanical accuracy to abstracting the landscape. I also view drawing in broader terms seeing lines and arrangements in everyday life that I photograph – from natural to synthetic. Throughout my life I have also used movement. In formal training I learnt to remember sequences of movement by orientation in the space and a sense of drawing with feet and hands. When I created a phrase of movement (to be repeated for 6 hours) for Holy Hiatus I was very aware of the floor pattern, especially as one of my practice places was on the estuary in Trefdraeth/Newport.

Book Arts Fayre/Ffair Lyfrau Celf

2009-08-11T11:17:00.006+01:00

I was at the ffotogallery Book Arts Fayre (why the "Y" spelling?)
A range of books: writing and imagery.

Including my Little Books...

top shelf or under the counter....

Ffair Lyfrau Celf/Book Arts Fayre
15 Awst/August
11.oo - 16.30
ffotogallery
Turner House
Penarth

Cosmic housekeeper: sweeping the yard.

2009-07-13T19:43:00.006+01:00

art @ rhosygilwen

one square yard is swept.

what is the geometry of this? what is the space time dimension? which space am I sweeping? my headspace?

Somehow on the steps I felt more like I was shifting space, cleaning something in a parallel universe/somewhere else in the cosmos

A video here by Jacob Whittaker

Holy Hiatus II visual documentation

2009-05-22T11:55:00.003+01:00

initial written response here

still photography by Jacob Whittaker

Holy Hiatus

2009-05-16T08:32:00.015+01:00

Mae’r cydweithrediad parhaus hwn rhwng Maura Hazelden & Lou Laurens yn archwilio y berthynas rhwng y materol a’r anfaterol, drwy ddelwedd, llais a symudiad. A all y corfforol newi ymwybyddiaeth, creu gofod cysegredig, galw ar y ‘sanctaidd’?

Dydd Gwener Mai 22

4–10 y.p

Canolfan Byd Bychan

Aberteifi

Bathouse Road, Aberteifi/Cardigan, Ceredigion SA43 1JY

Friday May 22

4 - 10 p.m

Small world Theatre

Cardigan

A limited audience at any one time, refreshments available

Cynulleidfa gyfyng ar unrhyw un adeg, lluniaeth ar gael.

The event builds on work commissioned for Holy Hiatus: Ritual & Community in Public Art (2008), an exhibition/symposium curated by Ruth Jones, and is showing a year to the day in the same space.

Maura & Lou will be working between 4.00 & 10.00 pm. They will interact with footage and recordings from last year’s performance, creating a multi-layered exploration with the potential to develop year on year. No booking necessary but at any one time there will be a limited audience; refreshments will be available for those waiting.

Some reactions to last year’s performance:

“A very beautiful feeling and mood evoked in the space”

“opening to quietness… very moving”

“It was quite amazing…There was a lot of thinking to be done after it”

“It was a very spiritual, prayerful experience”

As part of the event there will be a meditation/prayer space in the dance studio. It is an open invitation to explore meditation and prayer in silence or through movement.

unfunded untitled unrehearsed : heb deitl heb gyllid heb ymarfer

Holy Hiatus

Ritual and Community in Public Art

Defod a Chymuned mewn Celfyddyd Gyhoeddus

link to entry for original performance

ointment

2008-10-04T18:24:00.015+01:00

ointment
a retrospective exhibition

oriel Henry thomas
West Wales School of the Arts Gallery
Caerfyrddin
6th November - 12th December 2008

Peter Bodenham curated the exhibition and I was asked to show Reconcile I & II. So how to re-present a two performances, one over an hour long, very site specific, with the viewing restricted by the space? One very intimate....

I was given a very good documentary video by Heike Roms, that clearly showed the context and the audience; this was shown on a very small dvd player. I also took photographic images from the dvd of pertinent moments/movements. There were framed pieces of work containing nails hair feathers roses and photographs.

see here for Reconcile I & II on this blog.

all my ointment work on this blog can be found here

ointment book launch

2008-07-26T21:00:00.003+01:00

look here for chwilio for corbeau imagery

incomplete entry!!!

midnight feast: tongue; neck; sternum

2008-07-04T18:15:00.008+01:00

if you build it they will come
g39, caerdydd/cardiff

re-presenting Midnight Feast.

g39 is 10 years old and celebrating

Holy Hiatus

2008-05-31T12:06:00.021+01:00

Untitled 6 hour performance

with Louise Laurens

May 22nd 2008, Small World Theatre/Theatr Byd Bychan, Aberteifi/Cardigan

watching for the liminal in repetition.
After some while I chose to do my moving from a chair. I sat, as soon as I started to move it was prayer, contemplation.

Also see set of images: here

Holy Hiatus
Ritual and Community in Public Art.

The moment of crossing the threshold between outer and inner consciousness.
Curated by Ruth Jones
Aberteifi/Cardigan

Alastair MacLennan (Belfast); Simon Whitehead (Abercych); Maura Hazelden (Crymych) with Louise Laurens; Anna Lucas (London); Yvonne Buchheim (Bristol LAND2 Member)
and symposium

for further information see Holy Hiatus web site

an introduction to the performance can be read here

and a meander throught the themes and symposium here

red riding wolf

2007-05-01T19:35:00.004+01:00

work in progress
rose images: Quebec, February 2005, forest images: Sir Benfro, August 2006 ; part of an ointment 'all in a days work'
thanks to Louise Laurens, Ailsa Richardson & Mel Shearsmith who joined me, bringing ideas from email exchanges.

also inspiration from Angela Carter & conversations with Mike Hodson. Of course there is always more but these are the important ones...also earlier work of my own.

additional texts are being compiled here

Red Riding Wolves

2007-05-01T19:34:00.002+01:00

featuring Louise Laurens and Ailsa Richardson
part of an ointment 'all in a day' event

additional texts are being compiled here

a place for everything lle i bopeth

2007-03-31T20:12:00.001+01:00

Ooh La La
a burlesque inspired exhibition,
View from the Top, Nottingham

with ointment at CAT 2007

2007-03-31T13:54:00.003+01:00

Cardiff Art in Time Show 2007, ointment create Scratch; within Scratch I create I will not

under over

2007-02-28T14:07:00.000Z

inside outside under over below above

into black beneath and out and up to white above, followed by echoes

part of an ointment 'all in a day's work' event

a black video link

a visual video link

angels on the beach

2006-11-30T19:44:00.000Z

an edge living on the edge birds fly from the rock edge water hits land and disappears into air velella velella by-the-wind-sailor come to land and die in their thousands truly having lived on the edge leaving their fate to the hand of god consider the lilies they go where the air and water take them
we move very little and observe in ourselves the desire to go into the water noting also that we are both too unwell to even take a decent walk

part of an ointment 'all in a day's work' event. Lou laurens and I visited the site: ceibwr, some days after the others.

Eli (salve) with ointment

2005-06-30T18:43:00.000+01:00

ELI (salve) prosiect ointment projects 2005

Over the last 4 years ointment have initiated a number of public arts projects exploring the relationships between nature and culture in the rural, both here in west Wales and Internationally.

Spanning the seasons between summer 2004 and spring 2005, the artists of ointment will create the ELI (salve) project. In the following live art events they invite the public to participate in a series of walks to find extraordinary herbs in ordinary places and to join with them in making ointment, the ointment itself serving as a medicinal balm for the collective skin of a community and as a botanic and cultural map of particular geographies of west Wales. Also Simon whitehead and Maura Hazelden will take the project to Darmstadt in September 2004.

look here for all eli entries

click here for full eli (salve) text

eli (salve) on ointment site found here

Eli, installation, Llandudoch

2005-06-30T18:42:00.000+01:00

THE CHARM SISTERS FROM TYRYET, PONTFAEN, CWM GWAUN, SIR BENFRO

Until the advent of the National Health system it always cost to see a doctor. People could resort to their own devises – creating a folk herbal tradition, or turn to the local herbalists, healers or doctors, all of which have evolved and borrowed from each other over the years. There have always been an extraordinary range of people to turn to should the problem seem to be beyond your control or capacity to treat: the shaman, the witch, the wise woman, the wart healer, the barber surgeon, the medical doctor, the medical herbalist etc. And you didn’t always get medicine to swallow or an ointment to apply – there were charms and spells, magic and psychic powers afoot.
Dig back far enough and wide enough in your area or even family and you will surely hear of a healer and perhaps one that didn’t apply lotions, medicines or even their hands.
In west Wales in the early twentieth century there were two sisters, Gwawr and Mair Evans, who from their mid teens seemed to have had a gift for making charms to cure various ills of the body and occasionally the heart. It is believed they gained their knowledge from an unmarried great aunt on their father’s side, who lived close to them in Cwm Gwaun.
The sisters were born and brought up at Tyryet in Pontfaen, Cwm Gwaun. When their mother married a few years after the death of their father, when they were 20 and 22, the unmarried sisters moved to a small cottage, Iet-hen-isaf near Mynachlog ddu.
They both seemed to have knowledge of the use of herbs but rarely used them to treat others; some notes and letters sent to a cousin give suggestions of treatment with herbal decoctions, tinctures and ointments. They did use herbs and spices and flowers in the making of the charms that took the form of actual objects. Also both houses where they lived had significant springs close by and they often made mention of use of particulars waters to take or to be involved with ritual.
The charms were individually tailored to the person and the ailment and given along with instructions of how to use them. It is not clear in what form payment was.
These were not two sisters from a poor family, but certainly there was no spare income from the family farm. But they survived, it would seem, without any other income or work than the charms, though it is known that Mair was outstanding at decorative embroidery. Not a lot else is known about them, though a visiting academic from Cardiff made particular note about their well-stocked library everything from herbals to poetry to philosophy to science. All was lost when the sisters died in a devastating house
fire, thought to have been caused by a lightening strike, in 1930. The sisters were only aged 29 and 31.
Little collections of charms, some with more detailed information than others remain in the possession of local families; presumably grateful people for whom the charms worked.
The three charms here were given on different occasions to Bethan Edwards of Maenclochog. The ball was made by Gwawr and apparently is made of petals including soapwort and pink roses, along with hair from Bethan. It is not known if the wax and petals continue to the centre or if it is wrapped around some other substance. Also recorded is that it contains frankincense and certainly after it has been confined in a box for a while and is first brought out there is a hint of the fragrance. It seems that Bethan had ongoing menstrual problems and the ball was hung on her bed during daylight hours and taken to hang by an east-facing window during hours of darkness. It was originally held within a silk tulle bag of which there is a scrap left.
Mair, whose work, apparently always had silk ribbon flowers attached, made the other two charms. Bethan received the rose with bird foot and feathers charm during her difficult pregnancy with her first daughter, Caryl. The charm was kept enclosed in a small box above the fireplace until the labour started then it was taken out of the box and hung in the window of Bethan’s bedroom, where the birth took place. Afterward it was kept near the baby’s crib for a year and a day.
The feather charm was made for Bethan’s son Dafydd who was ill as a teenager. It is made with feathers that seem to match those on the rose ball – possibly a grey wagtail. It is not known if this is particular to Bethan’s family or to Mair herself. It has a small piece of elderflower attached – the elder has always been an important tree for protection.
Both children grew up healthy and remained in the area. Dafydd died in 1993 aged 91 and Caryl in 2002 aged 82. It was Caryl who had received the charms from her mother and passed them on to a great niece living locally. It seems there were others but not in a very good state of repair.
Many charms made by Gwawr and Mair were never meant to be kept, as their use included putting them outside where the weather and rain undid them again.

References include:
Mynachlog-ddu, a historical survey, E.T. Lewis 1969
Pethau Cysegredig, Amgueddfa Sir Gaerfyrddin, 1996

Dedicated to and influenced by the rigorous scholarship and creativity of Iolo Morganwg, without whom contemporary Welsh culture would be depleted

Eli, May Blossom

2005-06-30T18:10:00.000+01:00

Eli in Sir Benfro

2005-06-30T18:06:00.000+01:00

Eli in Sir Benfro, album

2005-06-30T18:05:00.000+01:00

Eli, veronica

2005-06-30T18:00:00.000+01:00

Veronica officinalis: heath/common speedwell

Among Welsh peasantry great virtues are attributed to the speedwell. Formerly employed in … diseases of the skin and in the treatment of wounds. Modern herbalists still consider (it) is a simple and effective remedy in skin diseases. (Modern Herbal Mrs. Grieve, ed. Mrs Leyel)
Genus veronica may have been dedicated to the saint of that name who is said to have wiped Christ’s face on his way to the cross. But others say from 2 Greek words meaning I bring victory. This is an allusion to the plant’s supposed ability to cure a long list of ailments, from coughs to tuberculosis to wounds and leprosy. Name ‘speedwell’ may also refer to curative powers. Also name could be rooted in Irish version speed-you-well, sprays of plants pinned to clothing of traveller to protect from accidents.
The little speedwell plant was known for centuries as something any traveller would tuck in his socks - and leaves in his boots, before a journey, as it was known to ease tired feet. Another name for it is Traveller's Joy. But speedwell doesn't do much for bunions and the aches of walking .. what it has got is stamens which look like a pair of boots and stockings on walking legs ... (seem more like pixie boots or a ballerinas legs to me.. ) ... the Doctrine of Signatures, and our belief did the rest.

Eli at Llyn Y fan Fach & Myddfai

2005-06-30T17:57:00.000+01:00

Eli at Llyn Y Fan Fach & Myddfai, Album

2005-06-30T17:56:00.000+01:00

Eli, violets at Llyn Y Fan Fach

2005-06-30T17:50:00.000+01:00

Marcheurs des Bois

2005-03-30T16:43:00.009+01:00

Marcheurs Des Bois was the second part of an international exchange between artists from Boreal in Quebec, Canada and from ointment artists collective in Pembrokeshire, Wales.

A long bad dream goes grey and feathery I wake sit up and see thick snow falling outside. I come back when I am hungry, hands, arm and feet hurt as I walk. I begin to realise my limitations. The steaming river frosting the alders. The evidence of mammals criss-crossing the snow. Clear skies of stars. A cradling new moon, an egg moon, a full moon. My first walk in a snowy forest since I was a child. Sunrise seen through frozen eye-lashes. Ice. Ravens. Woodpeckers. Deer. A wolf.Catch a sparkling fragment of air, early morning air full of woodpecker and tiny spangles. 22° halo, with rainbow circumzenithal arc, and later a lower arc. I kneel under a birch tree and mark the shadows cast by twigs by pressing a plant stalk longwise into the snow. I kneel and watch the earth move. I kneel and am surrounded by a rainbow shattered into minute fragments, as the sun pours onto the snow. Walking, resting or sleeping in the snow. In the evening sewing tiny gloves and deformed hands, wax dipped. Very hard work, takes so much time with my hands they way they are.

main, gant, rose/llaw, mennyg, rhosyn

small gloves with additions from walks: deer hair, lichen, bark...
small hands each not perfect (felt dipped in beeswax)
rosebuds previously sew to my fingers in water:ice felt tubs
displayed outside under the bushes where the rosebuds had been buried for most of the two weeks - except when squirrels dug them up.

walking to sleep: to find my cradle.
each day I went out and found somewhere to sleep. I made a book with water colours and text. an extract of text:
Sous un pin, je dors. Dans la neige profunde sous les branches, je me recroquexille dans la neige profonde. Je suis reposée sous l’épaisse neige qui tombe. Je me couche sous le bleu, dans lair immobile. Je somnole. Je danse. Je retiens mon chagrin. Je suis coucée le regard tourné vers les grands arbres et la neige qui tombe. Je chante.
I see a wolf loup blaidd. I see three grouse. A raven grand corbeau gigfran follows me; flies low over me as I curl into deep snow by cedar trees. I do not sleep sa i’n cysgu, but am rested under thick falling snow.
Dw i’n crwydro’r byd yn chwilio am nghrud.

unfinished entry

Marcheurs des Bois website

Wrth fy modd

2004-12-31T10:38:00.001Z

link to oriel mwldan

Orial Mwldan
Aberteifi/Cardigan
Ceredigion

Selected show with Maria Sears, Rosalind Sharples & Sara Davies.

Two parts:
i installation of photovisual works and objects on a theme of memory and the domestic.

ii photovisual work, drawing and writing on a place from early memory in north wales, recently revisited for the first time in 30 years.

incomplete entry

Eli in Darmstadt

2004-09-30T17:55:00.001+01:00

Simon Whitehead and I travelled to Darmstadt, for the Forest Art Festival curated by Ute Ritchel. This was the first public showing of the Eli project.

eli at Waldkunst site

Waldkunst page on ointment eli (salve) work

Eli in Darmstadt, album

2004-09-30T17:54:00.000+01:00

Crwydro, with ointment

2003-05-31T16:35:00.001+01:00

Tu hwnt y ddeall dyn
(beyond the understanding of man)

unfinished entry

crwydro website
link to introduction of project

ointment III

2002-12-31T20:03:00.003Z

I walk I walk I walk, toe to heel, 2 hours, in the dark around a dim smouldering fire, in tthe old bone house, where animals have walked round and round turning the grind stone. I get so used to the dark that I am lost if someone shines a light; I cannot see my path.

Ritual or what? Ritual or not? I decide to stop and it is exactly the two hours I intended.

Across the way a domestic shrine under a lean-to, in a spring, candles and dressing table.

Caerdydd - Clunderwen - Caerdydd

2001-12-31T16:57:00.002Z

Tactile Bosch, selected group show.

very large photographic work of train window images from the above journey, mainly of Port Talbot.

the space between

Have I ever been to Port Talbot?
Inside and outside, moving and stationary. Reflections in glass - where do they exist? The glass is thin, but as I focus the lens, I go beyond the glass. Focus on the glass and the beyond, the real outside, (especially the industry of Port Talbot particularly the steel works, remembered from geography lessons at the age of 11), is still there, but out of focus. I’ve never stopped in the town, only passed through, probably hundreds of times. My eye can’t focus both on the near glass and the far landscape. Focus on the glass for dirt and rain and scratches, memories. Where are you when you travel? An investigation of memory, seeing and landscape, within travel.
An ongoing series of work Clunderwen – Caerdydd – Clunderwen; Charing Cross – Charlton – Charing Cross and other journeys that occur such as Caerdydd – Carlisle – Caerdydd.

the order of domestic memory

2001-07-31T09:45:00.000+01:00

@ ointment II, Llandudoch/St. Dogmaels, Sir Benfro, Cymru/Wales
installation & performance

The Domestic Order of Memory
The Memory of Domestic Order
The Order of Domestic Memory

Order
Organise
Arrange

Every part in its right place
A place for everything

Trefn Ddomestig Cof
Cof Trefn Ddomestig
Trefn Cof Domestig

Trefnu
Cymhennu
Tacluso

Pod darn yn ei briod le

Lle i bopeth

ointment website: events

reconcile I & II

2001-02-28T19:38:00.006Z

@ ointment I, Parc Y Pratt Farm, Sir Benfro, Cymru/Wales
performance & installation

reconcile /,ri:k¥n,sail/ v.tr 1 Make friendly again after estrangement. 2 (usu. in refl. or passive; foll. by to) make acquiescent or contentedly submissive to (something disagreeable or unwelcome) (was reconciled to failure). 3 settle (a quarrel etc.). 4 a harmonize; make compatible. b show the the compatibility of by argument or in practice (cannot reconcile your views with the facts) reconcilement the bringing to agreement things at variance

Reconcile I
Installation and performance in a grain store at Parc y Pratt. The inspiration came from finding the ground of the space covered with owl pellets: a barn owl was residing in the loft of the next space. I brought together the place and the story of Blodeuwedd from the Mabinogion (ancient Welsh legends). The story of a woman created from flowers as reward for a man, who is later punished by being banished into the night as an owl. I feel she needs to be flowers and owls. I used movement and the action of sewing owl feathers and flowers onto a hanging of black silk gauze.
The installation could only be viewed in three specific ways: through the feeder hole at the bottom, climbing the vertical ladder to the top or by looking at the mirror that over hung the space.
Reconcile II
In the barn next door I sat on a stool and sewed rosebuds and owl feathers onto my fingers. There was no barrier between the audience and me in this case.

additional text here

"And the room was full of petals from skylight and rafters, and all about them a fragrance, and petals, flowers falling, broom, meadowsweet, falling, flowers of the oak."

ointment website: events

Diversions Dance Company

2000-07-31T17:07:00.002+01:00

Residency with the dancers alongside Richard Powell.
site specific work in the Centre for Visual Arts, Caerdydd

Richard and I worked setting tasks, opening discussion and facilitating.

Old Stone: on paper, on cloth

2000-07-31T17:05:00.002+01:00

Ceredigion Museum,
Aberystwyth

photographs, mainly details, of early Welsh crosses, with John Sharkey.

Midnight Feast

2000-04-30T17:27:00.002+01:00

Midnight Feast

video installation in Matinee a selected group show
G39, Contemporary Temporary Artspace, Cardiff

shown on a hand held TV moniter, housed inside a box/plinth made from an old peice of furniture all placed in the pink cupboard under the stairs

link to g39 website information

the video is made up of a series of stills fading into each other - is there movement? Is there stillness?

Oriel Canfas

1999-09-30T09:45:00.002+01:00

Lle i bopeth A place for everything

solo show: photo visual, installation.

funded by the Arts Council of Wales.

incomplete entry

Cardiff School of Art

1999-06-30T09:46:00.000+01:00

incomplete entry

the tea cups should never be stacked

1998-12-31T16:36:00.000Z

the tea cup, particularly the pink tea cup and a particular green one will be found throughout my work....for, I expect much more than 10 years, it's been 9 already........

exploration of (s)(p)lace

1998-10-15T10:33:00.000+01:00

2 hour exploration of a stairwell, including with a blindfold. A camera was left and people were free to take photographs. An alarm clock rang at the end of the session.

UWIC, Howard Gardens, Caerdydd

possible/impossible transformation

1998-04-30T09:47:00.000+01:00

transitionalthreadtransformationtransitionalthreadtransform

a careful experiment in possible/impossible transformation in the courtyard, UWIC, Howard Gardens, Cardiff from 14.00 until it is finished or failed.

chrysalis, 1. a quiescent pupa of a butterfly or moth 2. a preparatory transitional state (L f. Gk khrusallis - idos f. khrusos gold) cocoon, a silky case spun by many insect larvae for protection as pupae.

I sewed myself into the fabric but the thread only went over the body not under. I went right up my torso and neck and some of my arms before sewing myself into it.
To release myself I cut the fabric only, I am very flexible of the arm (of the body, hyper mobility they call it) and could get the scissors to behind my head. I then cut down the back of body and limbs and emerged. It was very peaceful and concentrated, with a passing audience. Slightly damp. No-one saw me emerge.

Self Portrait

1998-01-31T11:32:00.001Z

the land in the body, the body in the land

Shown at:
CAT Show, Caerdydd, Cymru Wales 1999
Wrth Fy Modd, Oriel Mwldan, Aberteifi, Cymru/Wales December 2004