IWD 2017: some women’s art

There have been lots of International Women’s Day events in March 2017  (the day itself is 8th March), and I usually get round a few.  A rotten cold for me and voiceless Mike as company meant we only made it to a couple which involved women artists of Women’s Arts Association.

Swansea’s artists Rose Davies, together with Sylvie Evans and Patricia McKenna-Jones, organised a month-long exhibition of over 20 artists in Cinema and Co, and the opening was packed.  I worked in Swansea for years oblivious to the city’s lively creativity – or maybe it has thrived since I retired.

There was food and bar, an innovative BogArt in the toilets, and Amelia Thomas creating one of her Art Millimagics near the screen. Poet and rapper Rufus Mufasa was among performance art which included drumming by Patricia McKenna-Jones.

And there was a wide range of art to suit every taste.

In Cardiff, Women’s Arts Association had an open exhibition at Llanover Hall, curated this year by Patricia Clifford.  One of the most remarked-on pieces is Jacqueline Alkema’s dramatic “Ingrid Bergman”; another highlight is a delicate working of “Lord Buddha” from India by Vishakha Manesh Lad.

On Fridays, I go to the drawing class and have been able to revisit the exhibition.

There are thoughtful insights into feminist issues.

… as well as some bright exuberances, new women in art and old friends developing.  These are always shows to which I look forward.

 

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Lost Connections in Art in the Attic, Porth

Marion Cheung-Webber’s art works are well worth a visit to the gallery at The Factory, Porth called Art in the Attic.  It’s a really nice space.

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“Lost Connections” is a series of subtle works capturing young people absorbed in digital images backgrounded by a world of e-waste.  Marion worked with schoolchildren from Bassaleg High School on these – she engages with community successfully to develop her projects.

We used to have one of these at home, lost in his PC World.  I really like the light and layered depth to her work.

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I have been intending to see Marion’s work since the exhibition was in Newport a while ago – I hear about her from Women’s Arts Association.  Her show in Porth is on until 17th March.

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Celebrating in the Wilderness

The Wilderness near Mitcheldean in Gloucestershire was the choice for my friend and ex-colleague Emily’s 50th birthday weekend.  As well as the wonderful company, food and drink and brilliant passtimes, games and musical talents, the place itself was great.  I woke up to watch the morning sunrise and slow emerging shapes.

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The house lit up too.

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The walk took in forest paths and a frozen Wigpool, returning via Mitcheldean.

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Clouds and sun around the Garth

Long winter shadows on the fields and cloud inversions are a frequent sight on the Garth mountain and in the Taf valley.   I see them as I go up to the stables in the morning. These photos were taken in early January.

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Later that day, at about one o’clock after mucking out and riding, this appeared.

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A month later, in early February, the cloud inversion along the Taf valley was thick and woolly below, and the sun bright looking west to Mynydd Eglwysilan: I stopped on the lane above Dryscoed, and the cloud curls up the valley past Pontypridd in the background.

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This is more southerly, over Mynydd Meio.

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The clouds smothered Coed-y-Gedrys below the farm.

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This is the view over Coed-y-Gedrys without cloud, with my horse sharing a happy moment with my other favourite companion.

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Green ways in new estates: an attack on Footpath 48a

I have written about Open Spaces Society’s promotion of a wide grassy route through the new development between Tonteg and the Church Village by-pass on a few occasions since March 2013.  Then, the fields and footpaths were a short cut through to the shops on Main Road, and mainly a walkers’ and children’s place for dogs and dens.

There have been Temporary Footpath Closure Order on this path renewed, and next a proposal to extinguish the path in the estate.  I replied:

“Open Spaces Society will oppose any application to extinguish the footpath through this site.  Throughout the planning process for this development, OSS has supported the Rights of Way Officer in seeking to maintain a right of way of adequate width within green space in order to avoid a significant loss of enjoyment by users. …..  I believe this is in line with the Local Access Forum’s views on encouraging non-car travel including to shops.”

I would prefer to have the footpath remain, with a cycleway separated from it.  This would keep the permanent footpath on the Definitive Map, whereas a cycleway is on streets and not the Definitive Map, and is easy to extinguish. I walked through the estate to have a look on the ground. Here is the new way down the field, and it is a nice broad pavement with greenery, although it runs beside a road.

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The estate roads beside the pavement path are narrow, and not everyone likes to park their shiny car on a narrow road.  Furthermore, I fear for the maintaining of the pavement for walking, because once the roads are made up to the height of the drains, the kerbs will be low enough for a car to drive over easily.

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People are not waiting for the roads to be made up to park on the pavements, even while many houses are empty.  This not the right place to be extinguishing rights of way.

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It got worse at the top of the path, where we met people trying to get through to buy teabags from the Co-op on the main road in Tonteg (over a mile round without this path).  The arrow shows where the path should access The Ridings and I can only hope that the very permanent looking fence will be removed, eventually when the developer feels like it.

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This is the same path when the developer moved in and I had high hopes of a broad green swathe and not a wide pavement.

footpath to the ridings tonteg phase 2 building

footpath to the ridings tonteg phase 2 building

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Away from sparkly things: Bristol Museum and more

We wished, the three of us, to find somewhere quiet and peaceful to chat and catch up.  We chose Bristol, met at the train station and bussed into town: neither train nor bus was heaving with Christmas shoppers.  Our lunchtime destination was Bristol Museum.  The cafe is good and serves lunches late.  It has a fine fireplace, boasting from 1639, to gaze at.

The polished brass and fancy-patterned sinks made a visit to the toilets distinctive. Linda and I did the photo in a mirror bit.

We spent most of our visit on the second floor which has European art, glass and ceramics among the rooms.  There are lots of large limp pre-raphaelites and interesting impressionists.  I liked a Dutch-influenced painting “My neighbour’s house” in Beverley in Yorkshire by Fred Elwell.

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And this by Courbet.

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Seeing the Bristol complexity in its Delftware and pots was funny.  Best kept in a museum.

I liked these art nouveau vases, with the background ironwork and wood staircase

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Glassware included the multicoloured vase by Bob Crooks as well as older glass.

There was an exhibition of re-creations of Mexican art by Adela Breton (1849-1923): she travelled and kept meticulous notebooks as well as sketches. She made full-sized copies of the wall-paintings in Chichén Itzá, Teotihuacan and Acancéh which are on display.

The modern art had some stunning pieces, including these by Tala Madani and the “richly scented” minimalist cube of tea by Ai Weiwei.

I thought Victor Pasmore used colour and 3-d shadows to good effect.  Finally we went downstairs to find Kate Malone’s ceramic fish fountain which she cast in bronze (linda and Kath show the scale – sorry for pun).

We took a brief tour of some good places to know about, like Ken Stradling’s amazing house and Guild, a designer store.  It is hard to keep Linda away from shiny things and here she is attracted to a rail of glittery tops, while Kathy stays on the pavement to watch  for a bus.

Safely near Temple Meads, we enjoyed waiting for our trains to carry us home.

Blwyddyn Newydd Dda – Happy New Year

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Women’s Arts Association autumn exhibition

The Women’s Arts Association has had a very successful show of associate members’ work at Llanover Hall in Cardiff.  “How I see It …” fitted nicely with Llanover Hall’s educative functions by asking women makers to create an original work inspired by a woman artist.

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The opening, with readings by Toni-Ann La Crette, was enthusiastically attended, and groups from schools and of women had the opportunity to see the art but also see the women’s art that had been the inspiration – a good thing to demonstrate and take with them.

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On the left (from l to r), there is Rose Davies’ printed fabric piece inspired by Kathe Kollwitz, Dilys Jackson’s sculpture inspired by a Barbara Hepworth piece, Georgina Peach mobile inspired by Louis Bourgeois,  who painting also inspired Rebecca Croxford’s triptych, and Sue Roberts inspired by Marlene Dumas.  On the right, Bee Bennett’s landscape inspired by Joan Eardley, Dianne Setch’s digital image inspired by Ellen Gallagher, and Sarah Featherstone photography inspired by Madame Yevonde.

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More familiar as a mural and street artist Millimagic who signs herself Unity, Amelia Thomas worked on canvas inspired by Ruth Evans’ poem “Birth Plan”.  Jacqueline Alkema had shaved her hair last summer and used the experience in the light of Freda Kahlo’s self portrait, beside Kay Keogh’s portait inspired by Margaret Dumas.  (Jacqueline Alkema curated with Sarah Featherstone and Phillippa Brown.)

There were so many interesting works: at the Annual General Meeting, several artists explained their work.

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Aisling Tempany took us through the process of her inked piece inspired by abstract and religious work, including Mainee Jellet’s.  Anna Polya’s almost narrative work (not well -photographed) was an intelligent restyling and relocating of “Woman and Child in a Meadow” by Berthe Morisot.

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Of course, I loved Shirley Anne Owen’s horses inspired by cave painters, who, she notes, were mostly women.

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My own painting on the ambiguity of walls was inspired by surrealist Dorothea Tanning.  Angela Kingston’s art inspired by various quotes hung beside Kathryn Jordan’s nasturiums inspired by Dora Carrington’s tulips.

I must also mention Dinah Guilfoyle (@dinahvagina) who didn’t hold back on her buttons of 50 women artists.  Mandy Lane’s amazing piece became more scary each time I saw it – inspired by Kiki Smith.

 

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