....Paul Emmanuel ‘Chapel of Hairy Flatness’..Paul Emmanuel ‘Capel Gwastadrwydd Blewog’....
....November – December 2019..Tachwedd – Rhagfyr 2019....
....Courtyard Project Space A..Prosiect Cwrt Gofod A....
....
Paul has been in residency here at Ruthin during early November experimenting with pigments and printing; and this exhibition of the works produced, and the influences explored, forms part of his Creative Wales Journey.
Chapel of Hairy Flatness. The main focus of my practise is catching pigments in animal hair; on the physical properties of fleece and the ways in which it can be manipulated. My interest in using pigment references the mark-making language of animals in landscape and sheep-marker in particular. Place is an influential factor in my work as it creates boundaries. As Place and another area of Boundary, Nantyffin Chapel offers a greatly nuanced position from which to develop new ideas about how influences and settings, in addition to many other contributing factors, affect our viewpoints.
Fleece Burning. Through the support offered by an Arts Council of Wales Creative Wales Award, I was able to research pigment from a new perspective. This perspective was to look at the transposition of actual place by using some of its key physical attributes to formulate useable colour. To realise this idea, I travelled to the city of Nara, Japan where the crafting of Sumi or ink sticks are still made to traditional recipes. I have subsequently imported to Nantyffin Chapel processes and methods learnt in Japan. With these new skills I have developed innovative recipes native to Nantyffin, by burning fleece and collecting the smoke as soot. This soot is then prepared for use as a printing medium.
Fleece Painting: A Film by Bevis Bowden Shot in the Brecon Beacons, South Wales, between June and December 2018, it follows the artist Paul Emmanuel through the seasonal cycles and labours of working farm life. The film focusses on his practise which is embedded in the hills that surround Nantyffin Chapel.
..
Mae Paul wedi bod ar breswyliad yma yn Rhuthun yn gynnar ym mis Tachwedd yn arbrofi â phigmentau a phrintio; ac mae’r arddangosfa hon o weithiau a gynhyrchwyd, a’r dylanwadau a archwiliwyd, yn ffurfio rhan o’i Daith Cymru Greadigol.
Capel Gwastadrwydd Blewog. Prif ffocws fy arfer i yw dal pigmentau mewn blew anifeiliaid; ar nodweddion ffisegol cnu a’r ffyrdd y gellir ei drin. Mae fy niddordeb mewn defnyddio pigment yn cyfeirnodi iaith anifeiliaid o wneud marciau yn y dirwedd a marciwr defaid yn benodol. Fel y bydd Lle ac ardal arall o Ffin, mae Capel Nantyffin yn cynnig pwynt cynnil iawn i ddatblygu syniadau newydd am y ffordd y bydd dylanwadau a gosodiadau, yn ogystal â llawer o ffactorau cyfranogol eraill, yn effeithio ar ein safbwyntiau.
Llosgi Cnu. Drwy’r gefnogaeth a gynigiwyd gan Wobr Cymru Greadigol Cyngor Celfyddydau Cymru, gallais ymchwilio pigment o bersbectif newydd. Y persbectif hwn oedd edrych ar drawsleoliad lle go iawn drwy ddefnyddio peth o’i briodweddau ffisegol allweddol i ffurfio lliw y gellir ei ddefnyddio. I sylweddoli’r syniad hwn, fe deithiais i ddinas Nara, Japan lle bydd saernïo Sumi neu ffyn inc i rysetiau traddodiadol yn parhau. Ar ôl hynny rwyf wedi mewnforio prosesau a dulliau a ddysgwyd yn Japan i Gapel Nantyffin. Â’r sgiliau newydd hyn rwyf wedi datblygu rysetiau arloesol sy’n gynhenid i Nantyffin, drwy losgi cnu a chasglu’r mwg fel huddygl. Yna fe baratoir yr huddygl hwn i’w ddefnyddio fel cyfrwng printio.
Paentio Cnu: Ffilm gan Bevis Bowden Wedi’i saethu ym Mannau Brycheiniog, De Cymru, rhwng Mehefin a Rhagfyr 2018, mae’r ffilm yn dilyn yr artist Paul Emmanuel drwy’r cylchredau tymhorol a llafur bywyd ar fferm weithio. Mae’r ffilm yn canolbwyntio ar ei arfer sydd wedi’i fewnblannu yn y bryniau sydd o amgylch Capel Nantyffin.
....
