eira

Wedi i mi sôn am fy ngwaith diwethaf yn 'nainazip' rwyf wedi bod yn edrych ar wahanol artistiaid a dylanwadau yn ogystal ag ymweld â gwahanol arddangosfeydd a cheisio agor fy meddwl o ran fy ngwaith fy hun a phosibiliadau. Yr wyf wedi cael eu hysbrydoli gan artistiaid ar hyd y ffordd, gan gynnwys, Tehching Hsieh a fy ffefrynnau personol, fel Eadweard Muybridge a Sally Mann. Ar ôl arbrofi gyda gwahanol gyfryngau ac yn chwarae o gwmpas gyda fy lluniau, rwyf wedi sylweddoli fy mod eisiau fy ngwaith fod yn amleg y fod yr ailadroddus ffotograffau y fod y pwnc symud drwy amser. Rwyf wedi arbrofi gyda asetad a Roedd hyn yn ddiddorol, yn ceisio cyflwyno gwaith ailadroddus mewn ffordd wahanol, a rhagamcanu haenau. Rwy'n credu bod hyn yn gweithio'n effeithiol iawn a hoffwn i gynnal y math hwn o haenu yn y Flwyddyn Newydd. Hefyd, yr wyf wedi bod yn defnyddio fy ailadroddus ergydion dal i fod mewn fformat ffilm. Drwy greu ffilmiau syml ac agos ir calon. Efallai y gellid eu darllen gan rai fel ychydig cyffredin, ond y prydferthwch o'm gwaith yn y ffaith bod ei personol, ac mae'n debyg na fyddech yn gwybod beth y gallent fod yn ymwneud oni bai eich bod yn gwybod yr ystyr y tu ôl i'r delweddau penodol. Chantal Akerman's ffilmiau cyffredin wedi ysbrydoli fi a sut yr wyf yn gweld rhai delweddau yn debyg ar harddwch Akerman darganfyddiadau yn ei waith ei hun a symlrwydd y pwnc.

After I last mentioned my work in 'nainazip' I have been looking at different artists and influences as well as visiting different exhibitions and trying to open my mind in relation to my own work and possibilities. I have been inspired by a few artists along the way, including, Tehching Hsieh and my personal favourites, like Eadweard MuyBridge and Sally Mann. After experimenting with different media and playing around with my photographs, I’ve realized I want to present my work being very obvious to the audience that it is repetitive of intimate subject moving through time. I’ve experimented with acetate and found this really interesting, trying to present the repetitive work in a different way, by layering photographs, acetate and even tracing paper. As i found that light plays an important part in my work i found projecting the photographs and simply putting the acetate photographs against the window, having natural light unravel a completely different image. I think this works really effectively and I would like to maintain this and experiment more in the New Year.
Also, I have been using my still repetitive images in a film format. By creating simple and intimate films. Maybe they could be read by some as a little mundane but the beauty of my work is the fact that its personal and I guess you wouldn’t know what they could be about unless you knew the meaning behind the certain images. Chantal Akerman's mundane yet stunning films have inspired me and how I see certain images is rather like the beauty Akerman finds in her own work and the simplicity of the subject.

akerman

eadweard muybridge

Dwi'n edrych ar gwaith Muybridge. Mae'n berthnasol i fy ngwaith fel ei iawn ailadroddus. Rwy'n dod o hyd i'r trefniadau o'r ffotograffau mewn gwirionedd a mae o'n apelio i mi, fel Tehching Hsieh, mae'n effeithiol iawn. Ar y cyfan, y gwaith wnath sefyll allan i mi o'r Biennial. Roedd ei gyflwyniad ac y cysyniad y tu ôl iddo oedd yn ddiddorol iawn i mi, ei gysylltiad â threigl amser ac mae ei luniau yn berthnasol i fy ngwaith.

I am currently looking at Muybridge' work. It's relevant to my work as its very repetitive. I find the arrangements of the photographs really appealing, like Tehching Hsieh, its very affective. Who's Overall, the work that stood out to me from The Biennial. His presentation and the concept behind it was very interesting to me, his connection to the passage of time and his photographs are very relevant to my work.

http://www.bbc.co.uk/i/wdlkz/?t=20m15s

hongian ar ei gilydd

Cannoedd o ddilladau pobol lleol Lerpwl wedi'i gohurio o nenfwd FACT. Ma gwaith arlunydd o Ffindir or enw Kaarina Kaikkonnen wedi'i ddylawadu gan gof. Mae pob un ddilledyn wedi'i rhoddi gan pobl or gymuned lleol, heb ei golchi i gadw'r unigrwy. Rwyf yn hoff iawn or darn yma o waith gan Kaikkonnen. Y neges, y perfformiad ar cyflwynid yn gyfan gwbwl. Pob un ddiledyn yn byth gofiadwy ir perchennog wreiddiol. Er cof am ei thad mae deynydd wedi cynnwys yn y gwaith fel siaced ac hefyd esgidiau ei mham.
Mae'r gwaith yn gweithio'n well ar raddfa fawr mae hyn yn creu datganiad cryf ac yn ddeniadol ir cwsmer mynegi dealltwriaeth tu ol iddo. Gwahanol mathau o ddillad yn gwneud on ddiddorol, drwy ddefnyddio amrywiaeth o liwiau yn ysgafnhau y cerflyn hwylus. Pan gerddais i mewn i FACT roedd maint y cerflyn ar safle yn effeithiol iawn. Wrth sefyll o dan y gwaith medrwch gweld ochr arall a gwahanol ir project. Mae'r siap yn debyg iawn i long nid wyf yn siwr mae hyn oedd y bwriad.

'Rwyf wedi adeiladu a sefydlu gwaith di rif,yn creu gwagle o fewn gwagle.trwy fy ngwaith rwyf yn medru deallt fy hyn yn mwy eglur-I ddealt yn fewnol ac yn allanol.'

kaarina kaikkonnen

Hundreds of Liverpool peoples clothing suspended across the ceiling of Fact. Finnish artist Kaarina Kaikkonnen work is influenced by memories. Each garment has been donated by the local community, unwashed to retain their individual experience. I really like this piece by Kaikkonnen. The message she wants to convey, the performance and the overall presentation. Each garment having a memorable purpose to whoever previously owned it. Kaikkonnen’s memories of her deceased father are also included in this work, his jacket, alongside with her mother’s shoes.
I think her work works well at a large scale and it creates a strong statement which I think most people can relate to and understands the meaning behind it. Its variation of garments makes it more interesting and having a wide variety of colours give the sculpture a very playful, light hearted feel. When I walk into fact I was instantly struck by the scale of this sculpture and its positioning. I guess I wasn’t expecting it. I think having it strung across the ceiling like that is very effective and as you stand underneath it, you’re able to look through it, from a different perspective. I noticed its shaped a lot like a boat, I’m not sure if Kaikkonnen intended on this but I think having that strong shape really emphasises the strong message behind the work that Kaikkonnen is trying to convey. I feel that Kaikkonnen successfully dealt with the Biennial theme 'Touched'. By incorporating the community gives a strong sense of bond in the city, by attaching these garments together releases a heart warming feeling within the city.

‘Countless works and installations I have built, creating spaces within spaces. Through my work I try to understand myself more clearly – to understand where the internal ends and the external begins.’

kaarina kaikkonnen

lluniau hardd a sensitif

Sally Mann

Yn tri oi phlant mae'n dal ieuenctid a diniweidrwydd a mae hyn drwy lygad mamol. Mae Mann's yn tynnu lun yw theulu drwy ole hardd.

She captures the youth and innocence of her three children. Through a maternal eye, Mann’s photographs her family in the most beautiful light.

marwolaeth diana

Roedd yr Arlunydd Lars Laumann syn sylfaenu o oslo yn arddangos tri math o waith, fidio yn y oriel Open Eye. Roedd darn o ffilm 'Morrissey fortelling The death of Diana' yn gasgliad o ffilm a fidio ohoni a caneuon syn addas gyda chwedlau gan Morrissey-prif ganwr or band The Smiths seminal 1986 or albwm'The Queen is dead'. Yn bersonnol nid oedd y darn yma yn fy ysbrydoli, hefyd dywedwyd mae geiriau wedi ymguddio drwy negeseuon yn y geirfa. Teimlais bo hyn yn ddi lwyddianus. Nid oeddwn yn medru deallt eu bwriad,hynnu yw, joc diflas neu cyd destyn difrifol, oherwydd hyn collais diddordeb yn llwyr. Yn dweud hynnu dwi'n gwerthfawrogi'r cynnig ar ymchwil tuag at y mater.

The Oslo-based artist Lars Laumann had three pieces of work, all video at the open eye gallery. Laumann's video Morrissey Foretelling The Death of Diana is a montage of found film and video footage, appropriated song fragments, and a meticulously researched voice-over narrative - that Morrissey, the former lead singer of The Smiths, somehow anticipated the 1997 death of Princess Diana via cryptic clues and asides secreted in his lyrics or embedded in images on Smiths' record sleeves or in their pop videos. Focusing on a track-by-track analysis of The Smiths' seminal 1986 Album "The Queen Is Dead" Laumann's film adopts the form of a conspiracy-theory-cum-urban-myth. Personally I did not particularly find this piece great or inspiring, even though there are rumours of The Smiths having hidden messages in their lyrics, I do feel Laumann's approach to this was rather unsuccessful. Throughout the footage I couldn’t figure out Laumanns intensions, whether it was a dull joke or it was in serious context. I appreciate his efforts and how well he researched this matter, but for me, it was too long, too drawn out and because of this I lost interest pretty quickly.