I am delighted to announce that my latest curation project for Oriel Myrddin Gallery in Carmarthen, Wales is now open. Twelve artists are showcased and I'm honoured to have worked once again with photographer Toril Brancher and designer Heidi Baker to create a wonderful accompanying publication. Huge thank you as well to the inspirational Angela Maddock for her outstanding opening talk and publication essay.
Alana Tyson, Eleri Mills, Indre Eugenija Dunn, Jayne Pierson in collaboration with Neale Howells, Laura Thomas, Llio James, Philippa Lawrence, Rhiannon Williams, Rozanne Hawksley, Ruth Harries, Sally-Ann Parker and Spike Dennis.
|L-R Alana Tyson, Llio James, Jayne Pierson, Philippa Lawrence|
|L-R Rhiannon Williams, Sally-Ann Parker, Laura Thomas|
|L-R Laura Thomas, Eleri Mills, Ruth Harries|
|Foreground: Ruth Harries|
Background (on wall) L-R: Rozanne Hawksley, Philippa Lawrence, Spike Dennis
|Foreground: Jayne Pierson|
|Ruth Harries (background), Laura Thomas (foreground)|
|L-R Indre Eugenija Dunn, Rozanne Hawksley, Rhiannon Williams, Sally-Ann Parker|
|L-R: Eleri Mills, Ruth Harries, Jayne Pierson, Spike Dennis|
Below is the exhibition essay, outlining the curatorial concept for the exhibition:
The curatorial concept for this exhibition evolved instinctively: it felt right in these times of political upheaval and disquieting daily news stories. Whilst I can’t help but feel affected by the darker tone of the times, in counterbalance, I also try to seek out and celebrate examples of hope, optimism, kindness and peace. I hope this exhibition reflects on these oftentimes complicated responses to our contemporary experience.
It is also intended to highlight some of the outstanding work being made through the medium of thread and cloth, by artists living in or connected to Wales. No doubt this is informed in some part by our rich cultural heritage of making both utilitarian and decorative textiles to furnish our living spaces and envelope our bodies from birth to death.
I selected work that demonstrated visual poetic eloquence, a mastery of medium
and an absolute sensitivity to making and
materials. I wanted work that would stop
you in your tracks: to meet your gaze head-on, to challenge you, question you,
but also offer comfort, reflection and embrace.
Some of the work has a punk confrontational self-confidence, others, a
gentle yet searing resilience.
There are broad-ranging themes informing the work: gender politics, feminism, empowerment, memory, language, loss. There are references to landscape, both internal and external and how we occupy it, or how it occupies us. The recurring circle motif present in several of the artworks was possibly subconsciously sought out, due to its universal symbolism of eternity, the infinite, wholeness, totality, self and the cycle of life. Its gentle shape has no awkward sharp corners; it flows infinitely, focuses the eye, draws us in, then acts as a full-stop to make us, pause and draw breath.
Some of these curious, provocative, intense, fragile works might feel comfortably familiar through their materiality or typically ‘Welsh’ colour palette of black, ecru and red; much hopefully, does not. There is a purposeful range of hard and soft materials across the exhibits to represent a juxtaposition of comfort and discomfort. Sometimes a textile can soothe, but sometimes it cannot.
To conclude, I must extend grateful thanks to all at Oriel Myrddin, firstly for the invitation to curate this exhibition and secondly for all their tireless support throughout the project. Also, many thanks to Angela Maddock for her eloquent and poignant essay, Toril Brancher for her exquisite photography and Heidi Baker for her considered design of the exhibition publication. Lastly, I’m hugely grateful to all the artists for so willingly and generously contributing work to this exhibition.
|Indre Eugenija Dunn|
|Jayne Pierson in collaboration with Neale Howells|