Leeds To Carmarthen Returned
Maritime & Industrial Museum
27 Seconds of Silence
Helwick Lightship
Craig felt a kinship with the crews of both the Helwick Light-ship and the Cape Horners, being moved by the notion of men living in isolation out at sea or away from their families and loved ones. He himself has spent the last few years travelling and working away from his own family.
His work on board the Helwick Light-ship utilised factual information about the mechanics of the ship but re-presented it in a way that made the text poetical, talking of more human elements, the moments of silence and reflection that occur when people are away from home.
Archive for 28 Medi 2000
Craig Wood
28 Medi 2000
Lois Williams
IV
Maritime & Industrial Museum
A Different Kind of Light
Swansea Museum
Lois was reminded of her childhood when she visited the Abbey Woollen Mill at the Maritime & Industrial Museum. Brought up on a farm at St. Asaph’s in North Wales, she was taught by her grandmother how to spin wool on a hand wheel.
Seeing the industrial version inspired an installation within the Abbey Woollen Mill that was not just infused with a sense of nostalgia but, combined with its location of an industrial setting, assumed a new poetic life.
28 Medi 2000
Benoit Sire
Untitled
Maritime & Industrial Museum
Benoit has previously worked in the salt marshes near his home in Brittany creating sculptures with salt. Whilst researching ideas for his work for Locws International he discovered that salt had been imported from Brittany to Swansea in Mediaeval times.
As a result he brought salt from France again and created an installation that dealt with the notion of exchange, not only of imported goods but of cultural ideas and traditions.
28 Medi 2000
Tina O'Connell
Untitled
220 High Street
The venue for Tina O’Connell’s work was a shop on Swansea’s High Street. The installation was viewed through the window from the street. It was an object based installation which consisted of 2 bitumen/polymer cubes that deconstructed over several weeks.
Tina says of her work that it “implies a calculated shift of location and point of view and the indirect collaboration of her and the audience in mapping previously unimagined spaces or re-mapping those taken for granted. Most of the time we would as soon pretend that we are sure of our surroundings and of ourselves than pose the simple question that might abruptly shatter the illusion of dependability”.
28 Medi 2000
Philip Napier
Dead Again
Swansea Museum
Philip Napier found a display-case of fire-damaged stuffed-birds in a burnt-out pub in Belfast. He was taken by the relationship of the sanctity of preserving these birds in their museum-style glass case and the fact that they were dead and then ‘killed’ again by the fire.
He placed the birds outside Swansea Museum to emphasise their frailty and vulnerability even after they had originally been preserved for posterity.
28 Medi 2000
Karen Ingham
Untitled
St. Mary’s Church
Karen Ingham works with people on her projects, recording in video and photography elements of their lives and experiences. At St. Mary’s Church she created a large video installation that talked about the church’s history, how it has touched people’s lives and how the church has been resurrected after the heavy damage inflicted in the war.
Karen created a multiple layered video installation that connected St. Mary’s to the notion of the Phoenix rising from the ashes.
28 Medi 2000
David Hastie
The Sidings
Maritime & Industrial Museum
David Hastie’s work for Locws International explored personal and collective memory.
Using the history of the city as a reference point he presented a series of projections from the back of the Maritime & lndustrial Museum across land that was once occupied by Victoria Station and railway sidings.
28 Medi 2000
Hughes Germain
Locke’s Gate
Swansea Marina
Hughes Germain recorded sound from various locations around Swansea. He remixed the sound and presented them to the audience on the quayside of Swansea Marina as a ’sound installation’.
The work created an arena of sound that he described as “capturing and relaying the passing moment”.
28 Medi 2000
Rose Frain
Brighter Than The Stars
Swansea Museum
Rose Frain’s work was a site-specific installation realised as an ‘intervention’ into the traditional format of the museum.
The artist has used elements including light, sound and locally mined black diamond anthracite, to suggest the meeting of different cultures to create ‘a kind of joy’ and a sense of nostalgia. Installed also is a ‘found’ early photograph of an Italian family.The sound is of the opera singer Adelina Patti, who loved Wales where she made her home after leaving Italy. Her voice alternates with the warm sounds of a Male Voice choir.
28 Medi 2000
Peter Finnemore
Shed; The Passion No. 1; The Passion No. 2; Genetic Blob; Heard of Cows
The Dylan Thomas Centre
Peter Finnemore presented several pieces inspired by the process of creativity including a shed, stating that “sheds are synonymous with creativity, Dylan Thomas wrote his poetry in a shed, Mahler wrote his compositions in a shed and Wittgenstein conceived much of his philosophical thought in a shed. Thus the space within the shed becomes a metaphor for the creative mind”.
He locates his artpractice within and around visual explorations on the themes of Welsh identity; it’s history, culture and landscape and it’s psychological and spiritual nuances.
His further pieces for the exhibition related to religious iconography aswell as cultural icons and the poetical inspiration of the landscape.
27 Medi 2000
