Locws Schools 2009: Penyrheol Comprehensive

Artworks



I was really impressed with how enthusiastic the pupils were on my arrival to the school and how they had used various influences from day one within their work.
There was a broad variety of medium energising around the classroom. Performances were being choreographed, experiments with water model making, painting were all part of the days events.



Miss Cabble the teacher was delighted with their alternative way of thinking which added a different dimension to their art portfolios she quotes, “It went very well and pupils experimented with new media, performance and video, which they hadn’t done before. The last time pupils were given the opportunity to work with David Marchant, it completely changed their way of thinking and working, and were more interested in the concepts behind artworks, which they researched for GCSE coursework. As a result, some pupils performed better in their GCSE Art, because they had developed the ability to think of more mature concepts for their work, and more contemporary ways of realising their ideas”.



David Marchant



Penyrheol Comprehensive made two films: ‘Penyrheol Film’ and ‘Coloured Water’



Click here to watch ‘Coloured Water’



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25 June 2009

Locws Schools 2009: Daniel James Community School

Artworks



Today 28 pupils produced valid pieces of course work for their art portfolios to go towards their G.C.S.E. exam. Everyone took the project very seriously and was on task all day. There were brilliant responses and so many ideas,” It’s been fun and really interesting. I loved making the models”, said Kirsten.



The art ranged from S.C.F.C, swan shaped boats to acetate drawings. Some made humorous versions of shoes with playgrounds within. Others had more contorted versions displaying the darker side of the playgrounds.



All of the pupils had already researched their projects from day one and had really thought about their ideas, which were well influenced and supported by Locws.



I enjoyed the day and was very impressed with the thought processes that were involved.



David Marchant



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22 May 2009

Locws Schools 2009: Trehafod

Artworks



It was a delight to be with a focused group of pupils who were totally engaged in their artworks.



They had even, as a group, written a poem about the tour day, which was recited to staff and myself by one of the group. It was truly excellent and was recorded in the first take.



The group then worked on mini projects producing the fun side of a playground, they created musical instruments and window drawings.



There was a finale with homemade instruments and found objects, which resulted in a recorded beat. There seemed to be lot of potential in the group with some very talented students.



David Marchant



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22 May 2009

Locws Schools 2009: Bishop Gore Comprehensive

Artworks



The children had thought about concepts for their work before my arrival and were ready to start work. After discussions everyone was ready to produce some serious artworks.



Lawrence and Alex had a great response, from a number of influences, creating a framework to hang acetates and perspex with drawn and ‘photo-shopped’ images from around their school grounds which they named ‘Layers’.



Marko Mäetamm’s ‘Graveground’ was recreated and called ‘The Wire Ground’ and a group of girls decided to feminise a lighthouse after being inspired by Megan Broadmeadow’s ‘Ship-Shape’. There was also a beautiful collage and a very unusual telephone boat.



To top the day, the Head of Art wanted us to put the items on display in a glass cabinet at the entrance of the school for all to see. A great finish to a great day.



David Marchant


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21 May 2009

Locws Schools 2009: Penyrheol Primary

Artworks


It was a pleasant surprise to arrive at a class of very enthusiastic pupils, raring to produce their ideas with me at the school.



I was really impressed with the amount of thought and ingenuity that was the result of inspiration acquired during our first day.



Some pupils had been inspired by performance and had choreographed a fabulous response to Paul Grangon’s work on the sail bridge. The pupils had conjured up instruments from recycled materials and were using their school surroundings to recreate their performance - very well implemented. ‘Penyrheol Performance’ - Click here to watch the film



Another group had made boats from recycled shoes taking this concept a step further by introducing a fan motor and sailing it in a puddle in the playground. ‘Concept - Shoe Boat’ - Click here to watch the film




The last group drew on the window of the classroom whilst the children played outside as a response to Neville Gabie. ‘Window Art’ - Click here to watch the film



It was a great day and was very impressive to see how the children embraced the experience. This truly shows that there is a place for the Locws Schools prgramme in the primary sector.



David Marchant


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21 May 2009

Tanya Axford

There Is Nothing Left Of The Sea But Its Sound
Unit 1a, National Waterfront Museum Square

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Tanya Axford’s artwork stems from her discovery of Swansea’s rich maritime history and in particular the city’s relationship to the dramatic and powerful impact of the sea. She sees this within elements of Swansea’s regeneration and ‘reinvention’ and specifically with the redevelopment of the LC, the newly revamped Swansea Leisure Centre.

The LC, a multi-faceted water park, has taken the natural phenomenon of the sea that is unpredictable, wild and unmanageable, and created a compact version that is highly controllable making the ‘drama’ of the sea safe and entertaining.

Axford has created a video installation that plays with this relationship, giving an illusion of the sea as a storm emerges. Accompanied by a dramatic soundtrack, the waves reach a crescendo and, as the piece continues, the true landscape is revealed.

Tanya Axford was born in Kent and lives and works in Newcastle upon Tyne.

Axford completed a BA Fine Art at Newcastle University and a MA Fine Art at Goldsmiths College, London and is currently represented by Workplace Gallery, Gateshead.


16 May 2009

Megan Broadmeadow

Ship-Shape
Swansea Museum Pontoon, Swansea Marina

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Megan Broadmeadow’s inspiration for her work is derived from Swansea’s maritime history and the wider nautical world, which she initially perceived to be very masculine, particularly within the history of Swansea. In her further investigations however, she discovered that the nautical tradition also holds reverence to the female form. Theboat is a ‘she’ vessel, cradling the lives of the men who sail in her hull. In response to this, Broadmeadow has created a floating sculpture of a high-heeled shoe, which has masts and sails, and presents the ultimate female ship.

The high-heeled shoe represents the femininity issues surrounding the nautical world and the shopping culture omnipresent in every city. The work also links to the Swansea cockle women, those women who only wore shoes to enter the market, their simple life almost a million miles away from the highly groomed lifestyles of today

Megan Broadmeadow was born in Manchester and raised in north Wales, where she currently lives and works.

Broadmeadow studied sculpture at the Slade School of Art, and graduated in 2002. Since then she has exhibited and performed in Wales and England. She also works as an Associate Director for Cynefin Theatre Company.


16 May 2009

Neville Gabie

Land and Sea
Quadrant Shopping Centre / Bus Station

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Neville Gabie has created a project that literally illustrates the face of Swansea: its landscape, buildings and evolving skyline.

Travelling on various bus routes around the city, Gabie produced a series of drawings onto the windows of the bus in the brief moments it stopped to pick up passengers. By filming this process, it became a way of mapping and holding onto the glimpses one sees when passing through the city.

Alongside the bus journey, Gabie presents two parallel films, a train journey across Siberia and a sea passage to Antarctica. By presenting the three journeys together, in the Quadrant Shopping Centre on the approach to the bus station, he creates a metaphorical starting point for the journey of the imagination, as well as a real launch pad for many Swansea adventures.

Neville Gabie was born in Johannesburg, South Africa and now lives and works in Stroud, UK.

He completed his MA in sculpture at the Royal College of Art in 1988. He has undertaken a number of international residences, and has curated and organised off-site projects in the UK. His work has been shown extensively internationally and nationally.


16 May 2009

Paul Granjon

Sail Bridge Music Action
Sail Bridge, River Tawe / National Waterfront Museum, Oystermouth Road

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Paul Granjon has chosen to work with Swansea’s Sail Bridge, a landmark structure that connects the east and west sides of the city. Granjon has collaborated with a local choreographer, Douglas Comley, and a 20-strong company of dancers to create a percussive choreography for the bridge, the dancer’s motions and rhythms ‘playing’ the bridge as if it were a percussive musical instrument.

The various surfaces of the bridge are activated by the dancers equipped with modified rubber mallets and wearing shoes fitted with steel plates. Their choreographed motions explore the acoustic quality of the largely metallic structure, creating a spatial sound-scape that reveals the musicality of the bridge.

The performance is the opening event for Locws International and filmed documentation can be seen within the Locws Information Hub at the National Waterfront Museum.


16 May 2009

Neeme Külm

Dylan Thomas
Dylan Thomas Square, Swansea Marina

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Neeme Külm aims to create a shift in perception of the normal urban environment; his key motivation in his artistic acts is aimed towards the viewers’ reactions, provoking a heightened awareness of what has become too familiar to even notice. In the case of Swansea and its inhabitants, the image and presence of Swansea’s much-loved poet Dylan Thomas and his cultural importance in the city makes such a case. Külm noticed that throughout the city there are many references to Dylan Thomas, including the bronze statue in the aptly named Dylan Thomas Square and wondered how Swansea would be affected if this were to disappear.

His artwork examines the nature of Swansea’s affection for the poet. In doing so his intervention with Dylan Thomas brings a shift from the ordinary, a moment of surprise and uncertainty. It considers the significance of cultural icons and the impact they might have, if any, upon a city. How would Swansea differ without Dylan Thomas?


16 May 2009