Walkie Talkie twilight screenings will viewable from the Carriageworks on Love Lane in the hours between 4.30 – 7.30 the evenings of 27th January and 3rd February, featuring moving image works by LUX Wales artists: Freya Dooley, Carol Breen, Zillah Bowes, Kerry Baldry, Sean Vicary, Paul Eastwood, Catherine Wynne-Paton, Laura Philips + Lauren Heckler.
Saturday 3rd February (11 – 4) hosts a day long event at Theatr Twm o’r Nant in Denbigh, working in partnership with Benjamin Cook from LUX and featuring silent films from LUX Wales artists and silent films from the archive, including live performance by Guy Sherwin and a discussion with LUX forum artists.
Tickets are limited for the day long event, so please book your place here: Walkie Talkie Tickets, Sat 3 Feb 2024 at 11:00 | Eventbrite
Bydd dangosiadau cyfnos Walkie Talkie i’w gweld o’r Carriageworks ar Love Lane yn yr oriau rhwng 4.30 – 7.30 gyda’r nos ar 27 Ionawr a 3 Chwefror, yn cynnwys gweithiau delweddau symudol gan artistiaid LUX Cymru: Freya Dooley, Carol Breen, Zillah Bowes, Kerry Baldry, Sean Vicary, Paul Eastwood, Catherine Wynne-Paton, Laura Philips + Lauren Heckler.
Mae dydd Sadwrn 3 Chwefror (11 – 4) yn cynnal digwyddiad diwrnod o hyd yn Theatr Twm o’r Nant yn Ninbych, gan weithio mewn partneriaeth â Benjamin Cook o LUX ac yn cynnwys ffilmiau mud gan artistiaid LUX Cymru a ffilmiau mud o’r archif, gan gynnwys perfformiad byw gan Guy Sherwin a thrafodaeth gydag artistiaid fforwm LUX.
Mae nifer cyfyngedig o docynnau ar gael ar gyfer y digwyddiad diwrnod cyfan, felly archebwch eich lle yma: Walkie Talkie Tickets, Sat 3 Feb 2024 at 11:00 | Eventbrite
Further Information-
Poet Mererid Hopwood considers how the Welsh word for listening – Gwrando comes from daw taken from dawelwch and meaning silence; reframing how the act of listening operates in partnership with the act of being silent.
The idea of WALKIE TALKIE was initiated through considering a time before the ‘talkies’ – a time in the 1920s when technological developments allowed for the introduction of recorded dialogue to be played in sync with the images on screen, marking a transition point from the silent era of film. In this instance we are interested in the potency of silent viewing to encourage wider discussion, sharing in historical and contemporary examples of silent film to consider social, political, environmental contexts.
Programme
11am Welcome Angela Davies/Mark Eaglen of studioMADE and Kim Knowles
11 – 12.30:: Silent Film Screenings from LUX Wales (Critical Forum) followed by discussion chaired by Kim Knowles with LUX Critical Forum Wales artists
12.45: Lunch break
1.30: Silent films from the LUX archive
2.40- 3pm Comfort break
2.50: Performance by Guy Sherwin
4pm Close with refreshments served at the bar
Between 4.30-7.30 Twilight screenings from studioMADE at The Carriageworks, 6 Love Ln
LUX Archive films curated by Kim Knowles – Ritual in Transfigured Time, Maya Deren, 1946, 14 mins. Slides, Annabel Nicolson, 1971, 16 mins. Fog Line, Larry Gottheim, 1970, 12 mins. Colour Work, Michael Maziere, 1991, 15 mins. Flash in the Metropolitan, Lucy Skaer and Rosalind Nashashibi, 2006, 4 mins. Leonora (The Joker), Lucy Skaer, 2006, 1 min
Performance ‘Man with Mirror’ by Guy Sherwin Followed by ‘Messages’ by Guy Sherwin
Profile of Kim Knowles – Kim Knowles is an academic and curator based at Aberystwyth University. She is the author of A Cinematic Artist: The Films of Man Ray (2011) and Experimental Film and Photochemical Practices (2020). Her research focuses on analogue film communities and aesthetics, as well as the relationship between experimental film and eco-philosophy. She is an editor of Millennium Film Journal and co-edits Palgrave Macmillan’s Experimental Film and Artists’ Moving Image book series with Jonathan Walley.
Profile of Guy Sherwin – I first studied painting and was drawn into film in the early 1970s by the possibilities of visual movement. My films have taken various forms: silent black and white series (Short Film Series, Animal Studies); projection onto special screens (Paper Landscape, Man with Mirror); longer form films (Messages, Under the Freeway); multi-projection performances with visual sound (Mobius Loops, Vowels & Consonants – made with Lynn Loo); looped installations (Three Trees, Clock Screen). What links these diverse approaches is the impulse to find out what happens when a new idea is explored. It’s the process itself that largely determines the direction the work takes.
Messages 1981-3. 35mins black & white silent 16mm. Messages collects the personal and lyrical films of Guy Sherwin, one of the pre-eminent British film artists of the past forty years. The DVD features one of Sherwin’s major film works Messages (1981-4) – A meditation on childhood and language inspired by the work of Swiss psychologist Jean Piaget and Sherwin’s experience of his own daughter’s development.
Man with Mirror. Film performance with mirrored screen 10 mins – The filmmaker’s live interaction with his on-screen image which is projected onto a hand-held mirrored screen.
LUX Wales Silent films
Carol Breen. Still ‘On’ Line. Still ‘On’ Line is a silent desktop choreography. Layers of mundane repetitive actions opening & closing, clicking, minimizing, moving, playing, re-arranging files on screen. Lost in the paralysis of computer time in between downloads and documents. /// Carol is an Irish artist currently living in Cardiff, Wales. Interested in the entanglements between body, data, image, and interface. Her practice often considers copying as it relates to ownership and image circulation. She works with video, choreography, sound, and design resulting in projections, performances, and objects.
Lauren Heckler. The Sugar Den. 16 mins. The Sugar Den is a site responsive action and video poem, made whilst Lauren was in residence at studioMADE in September 2023. This period chronicled a time of focused reflection on a chronic health diagnosis and learning to live differently. And the resultant shifts in how space and time are read. The work frames two type 1 diabetics sitting in the doorway of an empty shop, ‘The Sugar Den’, eating and chatting. In the video we do not hear them or the environment. But a written text offers reflections and anecdotes on the scene which plays out. /// Lauren Heckler is an interdisciplinary artist from Wales working across screendance, drawing, writing and site-specific intervention. She is interested in capturing pattern and rhythm, the space of a breath, in the realtime rendering of real space and real time into fiction through the camera, and dreaming by chains of association. Performers: Liberty Chapman and Lauren Heckler
Seán Vicary Limpet Study #1. 2023 Stop-Motion and Hand Drawn Animation. 4 mins or looped, HD Video, 24 fps. Limpet Study #1 responds to a 6-week residency with Dyfed Archaeological Trust at an early medieval cemetery threatened by imminent coastal erosion at Porth Mawr, Sir Benfro. The 1,200-year-old limpets were found decorating cist graves and removed by the artist prior to excavating the burials. /// Seán Vicary works across moving image and animation, exploring ideas at the heart of our relationship with the ‘natural’ world, place and landscape. His films have been broadcast in the UK and exhibited worldwide, in 2022 he was awarded the Gold Medal for Fine Art at the National Eisteddfod of Wales.
Laura Philips. Brawdy. Running time 8mins 24fps HD Original format is 16mm Film is 16:9 ratio Silent. This film is inspired by the 1982 Nuclear Free Wales declaration and uses experimental technique 16mm film technique of with solarization. Refilming reportage as well as contemporary images that landscape this works looks at the legacy of visualising grassroot, environmental/peace movements from a pre internet age. Presented are images inspired by various logos or emblems from affiliated grassroots organisations. These include national to local activist groups from religious to environmental groups but all having connection to the mid – west Wales area from the 1970 onwards. /// Laura Phillips (b. 1986) is a non-smoking, Sagittarius, dysgwr who is often found loitering around the A470. She is an artist who uses a mixture of 16mm photochemical film processes & field recordings. Often working at the intersection of visual-music, expanded film and performance, her work explores obsolescence, ideas of the commons & information infrastructures. Previously her work has been purchased by Arts Council Collection England and past commissions include Arnolfini Bristol & Spike Island Bristol. Screenings include Supernormal Festival & Rotterdam International Film Festival. Her expanded performances have been shown at NAWR at BBC Studios Swansea, Cafe OTO, London, & KHiO, Oslo. Discover more of Laura’s work at https://www.lauraphillips86.co.uk/ and https://viridian.hotglue.me/
Catherine Wynne-Paton. The Lost Library – Lockdown Video 6. 4 min 11 secs. An archival project, building collections of words and questions sourced in particular places and times and has become a way of sifting for an ancient knowledge through the words we choose, the answers we seek and the movements that surface with contemplation. /// Catherine Wynne-Paton is a British artist who lives and works in South Wales in the UK. She is creator of The Lost Library which has appeared at The National Eisteddfod of Wales, Fringe Arts Bath, Deptford X Fringe, The Wrexham Open and MainSpring Arts.
Zillah Bowes. Allowed. 2021, 4-minute 3D-animated film. Zillah Bowes is a Welsh/English filmmaker and multi-disciplinary artist. The short film Allowed uses 3D animations of her 35mm photographs of wild urban growth in Cardiff. Following a journey through the empty city, Allowed re-examines our relationship with urban plant life in the context of biodiversity loss and the climate crisis. ///
Kerry Baldry. Punch. Originally shot on 16mm. Stop Frame. A hand becomes a weapon. Our hands can be opened to greet, caress and touch or, as in this case, they can strike out to cause pain. ‘Punch’ is a metaphor for the violence that forms the backdrop to our lives. Punch mirrors a world of Hollywood action films, real-time war coverage, domestic violence and intolerance. Body. Originally shot on Fuji Single 8 film using the superimposition facility on the camera. ‘Body’ is an edited version of a longer 3 minute film. Wrestling with the idea of battle and conflict. Three Heads. Originally shot on Fuji Single 8 film and edited ‘in camera’ a silent film. Intended to be a silent inner dialogue. Blue Leaves stop motion video. A walk to and from my studio in Snowdonia Eryri National Park /// Kerry Baldry works in a range of media including film and video. Many of her films have been shot on 16mm with a Bolex movie camera or Single 8 camera using facilities such as superimposition and stop frame, often edited ‘in camera’. Consumerism, alienation, emotionality, conflict and mortality; aspects of the human condition have been recurrent themes. Kerry graduated from Middlesex University (B.A Fine Art) and Central Saint Martin’s School of Art (postgraduate in Film and Video) and works in her studio on a Nature Reserve in Eryri National Park. Kerry has also curated and distributed ‘One Minute’ a self initiated project over the last 14 years screened worldwide. There are eleven programmes to date and have recently been archived at The BFI.
Paul Eastwood. Deluge – Put the pick in there, Pete, and turn it ’round real neat. 1 Minute. The puppets in my work occupy and interact in fictional scenarios I sculpt and write. These figures represent the ill, the disenfranchised, the vulnerable and the marginalised. In this work, a disembodied head and hands are manipulated by a larger pair of hands, and what seem to be buboes are picked and scratched to release a watery black bile. The art work draws a parallel between ruminating in the artist’s studio and picking at a scab. /// Paul Eastwood is a Wales-based artist who treats art as a form of material storytelling. He creates imagined histories and futures to investigate how spaces, artefacts, and memory communicate identities. Language – fleeting or imprinted, natural or invented, hegemonic or minority – is a constant object and medium of his practice.
Freya Dooley. About Scenes from Between the Mountains and the Sea (2020). 16 mins HD single-screen film with stereo sound. Commissioned by Beppu Project, Japan and supported by Wales Arts International English and Japanese subtitles. Japanese translation by Max Marx. Scenes From Between the Mountains and the Sea was developed in February 2020 during a residency in Beppu, a coastal city in the Oita prefecture of the Kyushu region of Japan. The film explores how corporeal and geographical bodies power and maintain themselves over time. Beppu is abundant with communal hot spring baths, and geothermal volcanic regions locally termed “Hells”. The work was informed by the ecology of Beppu and specifically, the connections between the volcanic surroundings and the communities who utilise and socialise its resources. Central to both intimate personal routine and social ritual, water passes between bodies in transient forms. Water circulates through ground, air and body, and steam expires from the orifices of the city. The silent narrator, a visitor, seeks out restoration through domestic routine, with a renewed attention to their own internal mechanisms in relation to their surroundings. Out-of-sync in body and clock, they slip between their interior world and a peripheral experience. /// Freya Dooley’s multi-disciplinary practice encompasses writing, moving image, sound and performance. Often rooted in close-range observations, layered narratives and sonic compositions expand outwards in scale, forming intimate connections between divergent subjects. The wider themes in Dooley’s practice relate to the harmonies and tensions between personal and collective experiences, with a particular interest in structures of work and domestic living.
Special thanks to Benjamin Cook, LUX, LUX Critical Forum Wales, Theatr Twm o’r Nant, Denbigh Film Club, Arts Council of Wales and Clocaenog Wind Farm.
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Cyd-destyn:
Mae’r bardd Mererid Hopwood yn ystyried gwreiddiau’r gair – Gwrando yn dod o daw a gymerwyd o dawelwch; yn ail-fframio sut mae’r weithred o wrando yn gweithredu mewn partneriaeth â’r weithred o fod yn dawel.
Cychwynnwyd y syniad o WALKIE TALKIE drwy ystyried amser cyn y ‘talkies’ – cyfnod yn y 1920au a oedd yn bwynt trosiannol o gyfnod tawel ffilm, pan oedd datblygiadau technolegol yn caniatáu cyflwyno deialog wedi’i recordio i’w chwarae ar yr un pryd â’r delweddau ar y sgrin. Yma, mae gennym ddiddordeb yn y nerth o wylio mewn tawelwch i annog trafodaeth ehangach, gan rannu enghreifftiau hanesyddol a chyfoes o ffilmiau mud i ystyried cyd-destunau cymdeithasol, gwleidyddol, amgylcheddol.
Rhaglen
11yb Croeso Angela Davies/Mark Eaglen o studioMADE a Kim Knowles
11 – 12.30 :: Dangosiadau Ffilm Fud o LUX Cymru (Critical Forum) gyda thrafodaeth i ddilyn gyda Kim Knowles yn cadeirio gydag artistiaid LUX Critical Forum Wales
12.45 Egwyl cinio
1.30: Ffilmiau mud o archif LUX
2.40- 3pm Egwyl gysur
2.50: Perfformiad gan Guy Sherwin
4pm Cloi gyda lluniaeth yn cael ei weini wrth y bar
Rhwng 4.30-7.30 Dangosiadau gyda’r hwyr gan studioMADE yn The Carriageworks, 6 Love Ln
Ffilmiau Archif LUX wedi’u curadu gan Kim Knowles – Ritual in Transfigured Time, Maya Deren, 1946, 14 mun. Slides, Annabel Nicolson, 1971, 16 mun. Fog Line, Larry Gottheim, 1970, 12 mun. Colour Work, Michael Maziere, 1991, 15 mun. Flash in the Metropolitan, Lucy Skaer and Rosalind Nashashibi, 2006, 4 mun. Leonora (The Joker), Lucy Skaer, 2006, 1 mun
Performance ‘Man with Mirror’ gan Guy Sherwin
Wedi’i ddilyn gan ‘Messages.
Proffil Kim Knowles – Mae Kim Knowles yn academydd ac yn guradur sydd wedi’i lleoli ym Mhrifysgol Aberystwyth. Hi yw awdur A Cinematic Artist: The Films of Man Ray (2011) and Experimental Film and Photochemical Practices (2020). Mae ei hymchwil yn canolbwyntio ar gymunedau ffilm analog ac estheteg, yn ogystal â’r berthynas rhwng ffilm arbrofol ac eco- athroniaeth. Mae hi’n olygydd ar Millennium Film Journal ac yn cyd-olygu cyfres lyfrau Experimental Film and Artists’ Moving Image Palgrave Macmillan gyda Jonathan Walley
Proffil Guy Sherwin – Astudiais beintio am y tro cyntaf a chefais fy nhynnu i mewn i ffilm yn gynnar yn y 1970au gan bosibiliadau symudiad gweledol. Mae fy ffilmiau wedi cymryd sawl ffurf: cyfresi du a gwyn (Short Film Series, Animal Studies); tafluniad ar sgriniau arbennig (Paper Landscape, Man with Mirror); ffurf ffilmiau hirach (Messages, Under the Freeway); perfformiadau aml-dafluniad gyda sain weledol (Mobius Loops, Vowels & Consonants – a wnaed gyda Lynn Loo); gosodiadau dolennog (Three Trees, Clock Screen). Yr hyn sy’n cysylltu’r dulliau amrywiol hyn yw’r ysgogiad i ddarganfod beth sy’n digwydd pan fydd syniad newydd yn cael ei archwilio. Y broses ei hun sydd i raddau helaeth yn pennu cyfeiriad y gwaith.
Messages 1981-3. 35mun du & gwyn mud 16mm. Mae Messages yn casglu ffilmiau personol a thelynegol Guy Sherwin, un o artistiaid ffilm Brydeinig fwyaf rhagorol y deugain mlynedd diwethaf. Mae’r DVD yn cynnwys un o brif weithiau ffilm Sherwin, Messages (1981-4) myfyrdod ar blentyndod ac iaith a ysbrydolwyd gan waith y seicolegydd Swisaidd Jean Piaget a phrofiad Sherwin o ddatblygiad ei ferch ei hun.
Man with Mirror perfformiad ffilm gyda sgrin ddrych 10 mun. Rhyngweithiad byw’r gwneuthurwr ffilm â’i ddelwedd ar y sgrin sy’n cael ei thaflunio ar sgrin ddrych a ddelir â llaw.
Ffilmiau mud LUX Cymru
Carol Breen. Still ‘On’ Line. Mae Still ‘On’ Line yn goreograffi bwrdd gwaith tawel. Haenau o weithredoedd ailadroddus cyffredin yn agor a chau, clicio, lleihau, symud, chwarae, aildrefnu ffeiliau ar y sgrin. Ar goll yn y parlys o amser cyfrifiadurol rhwng lawrlwythiadau a dogfennau. /// Mae Carol yn artist Gwyddelig sy’n byw ar hyn o bryd yng Nghaerdydd, Cymru. Gyda diddordeb yn y cysylltiadau rhwng corff, data, delwedd, a rhyngwyneb. Mae ei hymarfer yn aml yn ystyried copïo gan ei fod yn ymwneud â pherchnogaeth a chylchrediad delweddau. Mae hi’n gweithio gyda fideo, coreograffi, sain, a dylunio gan arwain at dafluniadau, perfformiadau a gwrthrychau.
Lauren Heckler. The Sugar Den. 16 mun. Cerdd gweithredu a fideo sy’n ymateb i’r safle yw The Sugar Den, a wnaed tra roedd Lauren yn preswylio yn studioMADE ym mis Medi 2023. Roedd y cyfnod hwn yn croniclo cyfnod o fyfyrio â ffocws ar ddiagnosis iechyd cronig a dysgu byw’n wahanol. Ac mae’r newidiadau canlyniadol yn y modd y darllenir gofod ac amser. Mae’r gwaith yn fframio dau berson â diabetes math 1 yn eistedd wrth ddrws siop wag, ‘The Sugar Den’, yn bwyta ac yn sgwrsio. Yn y fideo nid ydym yn eu clywed na’r amgylchedd. Ond mae testun ysgrifenedig yn cynnig myfyrdodau ac anecdotau ar yr olygfa sy’n chwarae allan. /// Artist rhyngddisgyblaethol o Gymru yw Lauren Heckler sy’n gweithio ar draws dawns sgrin, darlunio, ysgrifennu ac ymyrraeth safle-benodol. Mae ganddi ddiddordeb mewn dal patrwm a rhythm, gofod anadl, wrth rendro amser real o ofod go iawn ac amser real yn ffuglen trwy’r camera, a breuddwydio trwy gadwyni cysylltiad. Perfformwyr: Liberty Chapman a Lauren Heckler
Seán Vicary. Limpet Study #1. 2023 Stop-Symudiad ac Animeiddiad wedi’i Dynnu â Llaw. 4 mun neu dolennog, Fideo HD, 24 fps. Mae Limpet Study #1 yn ymateb i breswyliad 6 wythnos gydag Ymddiriedolaeth Archaeolegol Dyfed mewn mynwent ganoloesol gynnar sydd dan fygythiad erydiad arfordirol ym Mhorth Mawr, Sir Benfro. Daethpwyd o hyd i’r llygaid meheryn 1,200 oed yn addurno beddau cist a’u symud gan yr artist cyn cloddio’r claddedigaethau. /// Mae Seán Vicary yn gweithio ar draws delweddau symudol ac animeiddiad, gan archwilio syniadau sydd wrth wraidd ein perthynas â’r byd ‘naturiol’, lle a thirwedd. Mae ei ffilmiau wedi cael eu darlledu yn y DU ac wedi’u harddangos ledled y byd, yn 2022 dyfarnwyd y Fedal Aur am Gelfyddyd Gain iddo yn Eisteddfod Genedlaethol Cymru.
Laura Philips. Brawdy. Amser rhedeg 8 mun. 24fps HD Y fformat gwreiddiol yw 16mm Mae’r ffilm yn gymhareb 16:9 Mud. Mae’r ffilm hon wedi’i hysbrydoli gan ddatganiad Cymru Ddi-Niwclear 1982 ac mae’n defnyddio techneg arbrofol, techneg ffilm 16mm o solareiddio. Mae adroddiadau ail-ffilmio yn ogystal â delweddau cyfoes sy’n tirlunio’r gwaith hwn yn edrych ar etifeddiaeth delweddu symudiadau llawr gwlad, amgylcheddol/heddwch o oes cyn y rhyngrwyd. Cyflwynir delweddau wedi’u hysbrydoli gan wahanol logos neu arwyddluniau gan sefydliadau llawr gwlad cysylltiedig. Mae’r rhain yn cynnwys grwpiau ymgyrchwyr cenedlaethol i leol o grwpiau crefyddol i grwpiau amgylcheddol ond sydd i gyd â chysylltiad ag ardal canolbarth gorllewin Cymru o 1970 ymlaen. /// Mae Laura Phillips (g. 1986) yn ddysgwr Cymraeg di-fwg, Sagittarius a welir yn aml yn loetran o amgylch yr A470. Mae hi’n artist sy’n defnyddio cymysgedd o brosesau ffilm ffotocemegol 16mm a recordiadau maes. Yn aml yn gweithio ar y groesffordd rhwng cerddoriaeth weledol, ffilm estynedig a pherfformiad, mae ei gwaith yn archwilio darfodiad, syniadau am bethau cyffredin a seilwaith gwybodaeth. Yn flaenorol, prynwyd ei gwaith gan Arts Council Collection England ac mae ei gomisiynau yn y gorffennol yn cynnwys Arnolfini Bristol a Spike Island Bristol. Ymhlith y dangosiadau mae Supernormal Festival a Gŵyl Ffilm Ryngwladol Rotterdam. Mae ei pherfformiadau estynedig wedi cael eu dangos yn NAWR yn BBC Studios Abertawe, Cafe OTO, Llundain, a KHiO, Oslo. Darganfyddwch fwy o waith Laura yn https://www.lauraphillips86.co.uk/ a https://viridian.hotglue.me/
Catherine Wynne-Paton. The Lost Library – Lockdown Video 6. 4 mun 11 eil. Prosiect archifol, sy’n adeiladu casgliadau o eiriau a chwestiynau o ffynonellau ac amserau penodol ac sydd wedi dod yn ffordd o hidlo am wybodaeth hynafol trwy’r geiriau a ddewiswn, yr atebion a geisiwn a’r symudiadau sy’n dod i’r amlwg wrth fyfyrio. /// Artist Prydeinig yw Catherine Wynne-Paton sy’n byw ac yn gweithio yn Ne Cymru yn y DU. Hi yw crëwr The Lost Library sydd wedi ymddangos yn Eisteddfod Genedlaethol Cymru, Fringe Arts Bath, Deptford X Fringe, The Wrexham Open a MainSpring Arts.
Zillah Bowes. Allowed. 2021, 4-munud Ffilm animeiddiedig 3D. Mae Zillah Bowes yn wneuthurwr ffilmiau Cymraeg/Saesneg ac yn artist amlddisgyblaethol. Mae’r ffilm fer Allowed yn defnyddio animeiddiadau 3D o’i ffotograffau 35mm o dwf trefol gwyllt yng Nghaerdydd. Yn dilyn taith drwy’r ddinas wag, mae Allowed yn ail-edrych ar ein perthynas â phlanhigion trefol yng nghyd-destun colli bioamrywiaeth a’r argyfwng hinsawdd. ///
Kerry Baldry. Punch. yn wreiddiol wedi’i saethu ar 16mm. Ffrâm Stop. Mae llaw yn dod yn arf. Gellir agor ein dwylo i gyfarch, gofalu a chyffwrdd neu, fel yn yr achos hwn, gallant daro allan i achosi poen. Mae ‘Punch’ yn drosiad o’r trais sy’n gefndir i’n bywydau. Mae Punch yn adlewyrchu byd o ffilmiau gweithredu Hollywood, darllediadau rhyfel amser real, trais domestig ac anoddefgarwch. Body. yn wreiddiol wedi’i saethu ar ffilm Fuji Single 8 gan ddefnyddio’r cyfleuster arosod ar y camera. Mae ‘Body’ yn fersiwn wedi’i golygu o ffilm hirach 3 munud. Yn ymgodymu â’r syniad o frwydr a gwrthdaro. Three Heads. yn wreiddiol wedi’i saethu ar ffilm Fuji Single 8 a golygu ffilm fud ‘mewn camera’. Wedi’i fwriadu i fod yn ddeialog fewnol dawel. Blue Leaves fideo stop-symud. Taith gerdded i ac o fy stiwdio i ym Mharc Cenedlaethol Eryri /// Mae Kerry Baldry yn gweithio mewn ystod o gyfryngau gan gynnwys ffilm a fideo. Mae llawer o’i ffilmiau wedi’u saethu ar 16mm gyda chamera ffilm Bolex neu gamera Single 8 gan ddefnyddio cyfleusterau fel arosod a ffrâm stop, a olygir yn aml ‘mewn camera’. Prynwriaeth, dieithrwch, emosiynolrwydd, gwrthdaro a marwoldeb; mae agweddau ar y cyflwr dynol wedi bod yn themâu cyson. Graddiodd Kerry o Brifysgol Middlesex (B.A.Celfyddyd Gain) ac Ysgol Gelf Central Saint Martin’s (ôl-raddedig mewn Ffilm a Fideo) ac mae’n gweithio yn ei stiwdio ar Warchodfa Natur ym Mharc Cenedlaethol Eryri. Mae Kerry hefyd wedi curadu a dosbarthu ‘One Minute’, prosiect hunan-gychwynnol dros y 14 mlynedd diwethaf a sgriniwyd ledled y byd. Mae un ar ddeg o raglenni hyd yma ac maent wedi cael eu harchifo yn ddiweddar yn y BFI.
Paul Eastwood. Deluge – Put the pick in there, Pete, and turn it ’round real neat. 1 Munud. Mae’r pypedau yn fy ngwaith yn meddiannu ac yn rhyngweithio mewn senarios ffuglen yr wyf yn eu cerflunio ac yn eu hysgrifennu. Mae’r ffigurau hyn yn cynrychioli’r sâl, y rhai sydd wedi’u difreinio, y diamddiffyn a’r rhai sydd ar y cyrion. Yn y gwaith hwn, mae pen a dwylo anghydffurfiol yn cael eu trin gan bâr mwy o ddwylo, ac mae’r hyn sy’n ymddangos fel buboes yn cael eu pigo a’u crafu i ryddhau bustl du dyfrllyd. Mae’r gwaith celf yn cydredeg rhwng cnoi cil yn stiwdio’r artist a phigo’r crachen. /// Mae Paul Eastwood yn artist sy’n gweithio yng Nghymru ac yn trin celf fel ffurf o adrodd straeon materol. Mae’n creu hanesion a dyfodol dychmygol i ymchwilio i sut mae gofodau, arteffactau, a chof yn cyfleu hunaniaethau. Mae iaith – byrlymog neu brintiedig, naturiol neu ddyfeisgar, hegemonaidd neu leiafrifol – yn wrthrych cyson ac yn gyfrwng ei ymarfer.
Freya Dooley. Scenes from Between the Mountains and the Sea (2020). 16 mun Ffilm sgrin sengl HD gyda sain stereo. Comisiynwyd gan Beppu Project, Japan a’i gefnogi gan isdeitlau Saesneg a Japaneg Celfyddydau Rhyngwladol Cymru Cyfieithiad Japaneg gan Max Marx. Datblygwyd Scenes From Between the Mountains and the Sea ym mis Chwefror 2020 yn ystod preswyliad yn Beppu, dinas arfordirol yn rhagdybiaeth Oita yn rhanbarth Kyushu yn Japan. Mae’r ffilm yn archwilio sut mae cyrff corfforol a daearyddol yn pweru ac yn cynnal eu hunain dros amser. Mae Beppu yn doreithiog gyda baddonau gwanwyn poeth cymunedol, a rhanbarthau folcanig geothermol a elwir yn lleol yn “Uffern”. Cafodd y gwaith ei lywio gan ecoleg Beppu ac yn benodol, y cysylltiadau rhwng yr amgylchoedd folcanig a’r cymunedau sy’n defnyddio ac yn cymdeithasu ei hadnoddau. Yn ganolog i drefn bersonol agos a defod gymdeithasol, mae dŵr yn pasio rhwng cyrff mewn ffurfiau dros dro. Mae dŵr yn cylchredeg trwy ddaear, aer a chorff, ac mae ager yn dod i ben o orifices y ddinas. Mae’r adroddwr distaw, ymwelydd, yn ceisio adferiad trwy drefn ddomestig, gan roi sylw o’r newydd i’w mecanweithiau mewnol eu hunain mewn perthynas â’u hamgylchedd. Allan o gydamseru yn y corff a’r cloc, maent yn llithro rhwng eu byd mewnol a phrofiad ymylol. /// Mae ymarfer amlddisgyblaethol Freya Dooley yn cwmpasu ysgrifennu, delwedd symudol, sain a pherfformiad. Yn aml wedi’u gwreiddio mewn arsylwadau agos, mae naratifau haenog a chyfansoddiadau sonig yn ehangu tuag allan o ran maint, gan ffurfio cysylltiadau agos rhwng pynciau gwahanol. Mae’r themâu ehangach yn ymarfer Dooley yn ymwneud â’r harmonïau a’r tensiynau rhwng profiadau personol a chyfunol, gyda diddordeb arbennig mewn strwythurau gwaith a byw yn ddomestig.
Diolch arbennig i Benjamin Cook, LUX, LUX Critical Forum Cymru, Theatr Twm o’r Nant, Denbigh Film Club, Cyngor Celfyddydau Cymru ac Fferm Wynt Clocaenog,