#: locale=en
## Tour
### Description
### Title
tour.name = cARTrefu Virtual Exhibition
## Skin
### Button
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### Multiline Text
HTMLText_08530828_FF10_2ADF_419C_82016962DAFB_mobile.html = Prue Thimbleby
Prue Thimbleby has worked in Participatory Arts for over twenty years.
She now works as Arts in Health co-ordinator for ABM University Health Board where she leads a small Arts team. The job involves everything from making videos with patients so they can tell their stories, to setting up music performances, to facilitating an Artist in Residence programme and raising the funds to make it all happen.
Prue is also a sculptural basketmaker and storyteller and works freelance as a mentor for the Age Cymru cARTrefu project.
Prue’s Arts projects have ranged from setting up Swansea Digital Storytelling in Communities First regeneration areas to being Artistic Director for one of the 2012 Cultural Olympiad projects. In 2012 she was appointed as Art in Health Co-ordinator for ABMU Health Board.
Ticky Lowe
Ticky is a multimedia artist and workshop facilitator based in North Wales. She’s intrigued by boxes and fascinated by objects, and the stories and responses that they can trigger. She’s involved in collaborations, residencies, commissions and manages creative projects.
Ticky works regularly with schools, residential homes and hospitals with people of all ages and abilities.
She’s worked extensively on creative projects with people living with dementia over the last few years, these include creating reminiscence resources for care and nursing staff to use to help them to relate to patients in hospital and a long term residency working alongside a dementia support worker in The Maelor Hospital in Wrexham.
Ticky is currently putting the finishing touches to 12 new reminiscence handling collections, which will be available on loan for care homes and groups in Conwy via the new Culture Hub. Ticky is also starting work on a collaboration with the Cae Dai Trust 1950’s Museum in Denbigh, to pilot a 50’s handling collection for use by groups and care homes in Denbigh.
Ticky is based in Denbighshire, and worked as a cARTrefu artist during the first phase 2015 – 2017, and returned for the third phase in 2019.
Ticky Lowe
Ticky is a multimedia artist and workshop facilitator based in North Wales. She’s intrigued by boxes and fascinated by objects, and the stories and responses that they can trigger. She’s involved in collaborations, residencies, commissions and manages creative projects.
Ticky works regularly with schools, residential homes and hospitals with people of all ages and abilities.
She’s worked extensively on creative projects with people living with dementia over the last few years, these include creating reminiscence resources for care and nursing staff to use to help them to relate to patients in hospital and a long term residency working alongside a dementia support worker in The Maelor Hospital in Wrexham.
Ticky is currently putting the finishing touches to 12 new reminiscence handling collections, which will be available on loan for care homes and groups in Conwy via the new Culture Hub. Ticky is also starting work on a collaboration with the Cae Dai Trust 1950’s Museum in Denbigh, to pilot a 50’s handling collection for use by groups and care homes in Denbigh.
Ticky is based in Denbighshire, and worked as a cARTrefu artist during the first phase 2015 – 2017, and returned for the third phase in 2019.
Elizabeth Stonhold
Restricting her focus to the landscape surrounding her home of Fishguard, north Pembrokeshire, paradoxically allows Elizabeth the freedom to repeatedly explore and interpret the landscape in a personal way.
Through the discipline of drawing, Elizabeth describes her appreciation for the surrounding landscape as constantly reinvigorated. Energised by the process of creativity, she shares her skills by leading projects within communities and schools as a participatory arts practitioner.
Alison Moger
Alison Moger is an established visual artist and educator brought up in the South Wales valleys. Her work will always have an environmental and recycling ethos at its heart. Alison graduated in 2005 and now works with mixed media, print, and stitch. Alison is actively involved and committed to the visual arts with good listening, observational and communication skills.
Alison has the capacity to empathise with and understand people with difficulties in communication skills and has the ability to work effectively through imagination and creativity, with a flexible and resourceful approach.
Alison is based in Bridgend, and has worked as a cARTrefu artist since 2017.
Prue Thimbleby
Prue Thimbleby has worked in Participatory Arts for over twenty years.
She now works as Arts in Health co-ordinator for ABM University Health Board where she leads a small Arts team. The job involves everything from making videos with patients so they can tell their stories, to setting up music performances, to facilitating an Artist in Residence programme and raising the funds to make it all happen.
Prue is also a sculptural basketmaker and storyteller and works freelance as a mentor for the Age Cymru cARTrefu project.
Prue’s Arts projects have ranged from setting up Swansea Digital Storytelling in Communities First regeneration areas to being Artistic Director for one of the 2012 Cultural Olympiad projects. In 2012 she was appointed as Art in Health Co-ordinator for ABMU Health Board.
Yellow / Given Time
I went back into my past with that lady I used to talk to. She were 18, and I were 15.
Her story was her mother had a problem when she were pregnant, it were a …. Well, I don’t know what the disease was but if you had chickenpox or… whatever, it sort of, and… there were no cure. Or if there were a cure then the baby was bleurghbleughbleurghbleurgh. (I take this to mean “at risk”)
That was all those years ago that if I did know, I forgot.
Now. She were going to be given 3 years to live with eyesight. After that, her brain would start going and she became fully blind.
Now you see, during that three years she did not have a normal… What do
you call it? Babyhood.
She were deliberately given flowers and told “That’s yellow!” “It’s yellow, yellow!”
They did it that many times that later on you could go and ask her what it is, and that carried on for the rest of her life.
So when I come to think about her- that she conquered the problem; I’ve
decided that given time it’s possible that I can conquer anything.
Nodge Laddis
Aged 93
October 6th, 2017
Susan Kingman
Susan Kingman is a theatre-maker and creative facilitator, with a strong background in inclusive practice and communication skills training. Her creative work often stems from real-life stories and perspectives not often heard, centring on first-person testimonials and interviews.
Susan began creating her own work in 2012, with an early version of her first play, ‘I’ll Be There, Now’, which went on to an Arts Council Wales-funded tour of South Wales. Since then she has developed several other projects in collaboration with other Wales-based artists and companies, and has been awarded further Arts Council Wales grants.
Susan set up, and co-ordinates, the first hub in Wales of the UK-wide Mothers Who Make artist & creative network (recently featured on Radio 4’s Woman’s Hour).
Susan is based in Cardiff, and has worked as a cARTrefu artist since 2017.
Susan Kingman
Susan Kingman is a theatre-maker and creative facilitator, with a strong background in inclusive practice and communication skills training. Her creative work often stems from real-life stories and perspectives not often heard, centring on first-person testimonials and interviews.
Susan began creating her own work in 2012, with an early version of her first play, ‘I’ll Be There, Now’, which went on to an Arts Council Wales-funded tour of South Wales. Since then she has developed several other projects in collaboration with other Wales-based artists and companies, and has been awarded further Arts Council Wales grants.
Susan set up, and co-ordinates, the first hub in Wales of the UK-wide Mothers Who Make artist & creative network (recently featured on Radio 4’s Woman’s Hour).
Susan is based in Cardiff, and has worked as a cARTrefu artist since 2017.
Alice Briggs
Alice is an artist, arts educator and curator who has exhibited work in the UK and Europe. She is currently assistant curator of Ceredigion Museum based in Aberystwyth, and has experience in the commissioning and management of public art projects in her previous roles as Project Manager for Cywaith Cymru; the public art agency for Wales, arts tutor for Aberystwyth University’s School of Lifelong Learning, and gallery interpreter for Aberystwyth Arts Centre. Other positions have included arts facilitator for Haul Arts in Health.
Alice graduated in Visual Performance at Dartington College of Arts, and completed an MA in Art Museum and Gallery Studies from Newcastle. Since then she founded Blaengar – an emerging arts organisation focused on site-specific works and creative events in the public realm.
Alice has a growing interest in the recuperative benefits of creative arts within the health sector. She has experience of working within a variety of health care environments, including mental health, stroke rehabilitation and with children suffering long-term illnesses and learning difficulties.
Alice is based in Ceredigion, and has worked as a cARTrefu artist since 2017.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Tara Dean
Tara studied Illustration at Wrexham College and Harrow College of Art and Design. Returning to Denbigh, she worked with Craig Bragdy Design Ltd, a unique Ceramic Pool and Mural making company based in the town. While working here Tara developed her portfolio and began working on community art projects. The possibilities that clay creates continues to influences her practice today. Tara enjoys exploring different materials through drawing and printmaking in her workshops, sharing her experimental way of working and discovering new environments. The nature of her practice allows for an experience that encourages all in the community to explore being part of the Helfa Gelf Open studios, an event that takes place every year in North Wales. Tara became a mentee with the Lost in Art project in Denbighshire during 2011. Tara continues to work with Denbighshire Art Service, delivering the workshops in Rhyl and Prestatyn, and has created projects with the Vale of Clwyd Stroke Association, Vale of Clwyd MIND, Criw Celf, schools and local community groups in Denbighshire, Conwy and Flintshire and Wrexham.
Tara is based in Denbighshire, and has worked as a cARTrefu artist since 2017.
Tara Dean
Tara studied Illustration at Wrexham College and Harrow College of Art and Design. Returning to Denbigh, she worked with Craig Bragdy Design Ltd, a unique Ceramic Pool and Mural making company based in the town. While working here Tara developed her portfolio and began working on community art projects. The possibilities that clay creates continues to influences her practice today. Tara enjoys exploring different materials through drawing and printmaking in her workshops, sharing her experimental way of working and discovering new environments. The nature of her practice allows for an experience that encourages all in the community to explore being part of the Helfa Gelf Open studios, an event that takes place every year in North Wales. Tara became a mentee with the Lost in Art project in Denbighshire during 2011. Tara continues to work with Denbighshire Art Service, delivering the workshops in Rhyl and Prestatyn, and has created projects with the Vale of Clwyd Stroke Association, Vale of Clwyd MIND, Criw Celf, schools and local community groups in Denbighshire, Conwy and Flintshire and Wrexham.
Tara is based in Denbighshire, and has worked as a cARTrefu artist since 2017.
Yellow / Given Time
I went back into my past with that lady I used to talk to. She were 18, and I were 15.
Her story was her mother had a problem when she were pregnant, it were a …. Well, I don’t know what the disease was but if you had chickenpox or… whatever, it sort of, and… there were no cure. Or if there were a cure then the baby was bleurghbleughbleurghbleurgh. (I take this to mean “at risk”)
That was all those years ago that if I did know, I forgot.
Now. She were going to be given 3 years to live with eyesight. After that, her brain would start going and she became fully blind.
Now you see, during that three years she did not have a normal… What do
you call it? Babyhood.
She were deliberately given flowers and told “That’s yellow!” “It’s yellow, yellow!”
They did it that many times that later on you could go and ask her what it is, and that carried on for the rest of her life.
So when I come to think about her- that she conquered the problem; I’ve
decided that given time it’s possible that I can conquer anything.
Nodge Laddis
Aged 93
October 6th, 2017
Sarah Lord
Sarah Lord worked as a studio photographer for seven years prior to joining the cARTrefu team. Sarah has worked for Age Cymru since April 2018 within central services, but jumped at the chance to work on the cARTrefu project when the opportunity arose. Sarah took over the running of the cARTrefu project in January 2019.
cARTrefu
cARTrefu, which means to reside in Welsh, is a six year programme run by Age Cymru which aims to improve access to quality arts experiences for older people in residential care.
cARTrefu is Age Cymru’s flagship arts in care homes project that has been running since 2015, with funding from Baring Foundation and Arts Council Wales. The aim of the project is to improve the provision of creative activity in care homes and develop artist’s skills in running these sessions. Inspired by the Killick- Courtyard Mentoring Model, which has been running at The Courtyard in Hereford since 2011, Age Cymru took this successful model of a mentor-led artists development programme and used it as the building blocks for our experimental arts in care homes project, cARTrefu.
cARTrefu has now grown to become the largest project of its kind in Europe. We have been invited to talk about the project at conferences in Copenhagen, Sydney, Edinburgh, Belfast, Barcelona and London. Wales truly is leading the way when it comes to the impact of arts on well-being, particularly for those living with dementia, and we’re proud that cARTrefu is a significant part of Wales’ ambitions in this field.
We hope that cARTrefu will foster a greater appreciation of the arts among care home staff as they work with our artists. We want care home staff to gain more confidence and acquire new skills, sharing and practicing them in their daily work with residents.
cARTrefu
cARTrefu, which means to reside in Welsh, is a six year programme run by Age Cymru which aims to improve access to quality arts experiences for older people in residential care.
cARTrefu is Age Cymru’s flagship arts in care homes project that has been running since 2015, with funding from Baring Foundation and Arts Council Wales. The aim of the project is to improve the provision of creative activity in care homes and develop artist’s skills in running these sessions. Inspired by the Killick- Courtyard Mentoring Model, which has been running at The Courtyard in Hereford since 2011, Age Cymru took this successful model of a mentor-led artists development programme and used it as the building blocks for our experimental arts in care homes project, cARTrefu.
cARTrefu has now grown to become the largest project of its kind in Europe. We have been invited to talk about the project at conferences in Copenhagen, Sydney, Edinburgh, Belfast, Barcelona and London. Wales truly is leading the way when it comes to the impact of arts on well-being, particularly for those living with dementia, and we’re proud that cARTrefu is a significant part of Wales’ ambitions in this field.
We hope that cARTrefu will foster a greater appreciation of the arts among care home staff as they work with our artists. We want care home staff to gain more confidence and acquire new skills, sharing and practicing them in their daily work with residents.
Ticky Lowe
Ticky is a multimedia artist and workshop facilitator based in North Wales. She’s intrigued by boxes and fascinated by objects, and the stories and responses that they can trigger. She’s involved in collaborations, residencies, commissions and manages creative projects.
Ticky works regularly with schools, residential homes and hospitals with people of all ages and abilities.
She’s worked extensively on creative projects with people living with dementia over the last few years, these include creating reminiscence resources for care and nursing staff to use to help them to relate to patients in hospital and a long term residency working alongside a dementia support worker in The Maelor Hospital in Wrexham.
Ticky is currently putting the finishing touches to 12 new reminiscence handling collections, which will be available on loan for care homes and groups in Conwy via the new Culture Hub. Ticky is also starting work on a collaboration with the Cae Dai Trust 1950’s Museum in Denbigh, to pilot a 50’s handling collection for use by groups and care homes in Denbigh.
Ticky is based in Denbighshire, and worked as a cARTrefu artist during the first phase 2015 – 2017, and returned for the third phase in 2019.
Ticky Lowe
Ticky is a multimedia artist and workshop facilitator based in North Wales. She’s intrigued by boxes and fascinated by objects, and the stories and responses that they can trigger. She’s involved in collaborations, residencies, commissions and manages creative projects.
Ticky works regularly with schools, residential homes and hospitals with people of all ages and abilities.
She’s worked extensively on creative projects with people living with dementia over the last few years, these include creating reminiscence resources for care and nursing staff to use to help them to relate to patients in hospital and a long term residency working alongside a dementia support worker in The Maelor Hospital in Wrexham.
Ticky is currently putting the finishing touches to 12 new reminiscence handling collections, which will be available on loan for care homes and groups in Conwy via the new Culture Hub. Ticky is also starting work on a collaboration with the Cae Dai Trust 1950’s Museum in Denbigh, to pilot a 50’s handling collection for use by groups and care homes in Denbigh.
Ticky is based in Denbighshire, and worked as a cARTrefu artist during the first phase 2015 – 2017, and returned for the third phase in 2019.
Jon Ratigan
Jon currently works mainly with Moving Image and painting. Jon is particularly interested in using ‘other’ media such as drawing, clay sculpture and collage to create films. Thematically, all Jon’s work is quite personal, centred around our stories, memories and dreams and often explores the role that ‘place’ plays within these.
Jon has exhibited Moving Image work at many festivals including Alchemy Moving Image Festival, Scotland, The London Short Film Festival at the ICA, G39 Cardiff and Experiments in Cinema, Albuquerque.
As a cARTefu artist, Jon has worked with residents to produce animated clay heads, hand-drawn 16mm films and live action ‘object-films’ as well as exploring frottage, mobile making and painting.
Jon is based in the Vale of Glamorgan, and has worked as a cARTrefu artist since 2017.
Jon Ratigan
Jon currently works mainly with Moving Image and painting. Jon is particularly interested in using ‘other’ media such as drawing, clay sculpture and collage to create films. Thematically, all Jon’s work is quite personal, centred around our stories, memories and dreams and often explores the role that ‘place’ plays within these.
Jon has exhibited Moving Image work at many festivals including Alchemy Moving Image Festival, Scotland, The London Short Film Festival at the ICA, G39 Cardiff and Experiments in Cinema, Albuquerque.
As a cARTefu artist, Jon has worked with residents to produce animated clay heads, hand-drawn 16mm films and live action ‘object-films’ as well as exploring frottage, mobile making and painting.
Jon is based in the Vale of Glamorgan, and has worked as a cARTrefu artist since 2017.
Penny Alexander
Penny Alexander is a Welsh visual artist who is inspired by people and their lives.
Penny uses words and type to find creative ways to share the memories of the people she works with. She particularly loves typewriters. Penny is fascinated by people and she has developed her skills through working in care homes meeting residents, staff and visitors to enjoy conversation and creativity.
Penny attended the University of Salford where she was awarded a BA (Hons) Visual Arts.
Her work has exhibited both nationally and internationally as part of Juried exhibitions. She has worked in permanent collections at Beaney House of Art & Knowledge at The University of Kent and in Galaudet Gallery, Wisconsin, USA. Her artist book “Mind Maps” has been the focus of several essays by notable academics.
Penny is based in Flintshire, and has worked as a cARTrefu artist since 2017.
Penny Alexander
Penny Alexander is a Welsh visual artist who is inspired by people and their lives.
Penny uses words and type to find creative ways to share the memories of the people she works with. She particularly loves typewriters. Penny is fascinated by people and she has developed her skills through working in care homes meeting residents, staff and visitors to enjoy conversation and creativity.
Penny attended the University of Salford where she was awarded a BA (Hons) Visual Arts.
Her work has exhibited both nationally and internationally as part of Juried exhibitions. She has worked in permanent collections at Beaney House of Art & Knowledge at The University of Kent and in Galaudet Gallery, Wisconsin, USA. Her artist book “Mind Maps” has been the focus of several essays by notable academics.
Penny is based in Flintshire, and has worked as a cARTrefu artist since 2017.
Michal Iwanowski
Michal Iwanowski is a Polish-born, Cardiff-based artist and Head of Education and Training at Media Academy Cardiff. Michal studied Documentary Photography at the University of Wales, Newport, graduating in 2008. His work explores the relationship between landscape and memory; marking the silent passing of otherwise insignificant individuals and histories.
In 2009, he won the Emerging Photographers award by Magenta Foundation, as well as being given an Honourable Mention at Px3 Prix De Photographie, Paris. Michal received Arts Council of Wales and Wales Arts International grants for his projects Clear of People and Fairy Fort Project and in 2012 had a residency in Kaunas, supported by the Lithuanian Ministry of Culture.
Michal is based in Cardiff, and has been a member of the cARTrefu team since the project’s beginning in 2015. Working as an artist in phase one and mentor in phase two, Michal has continued as a cARTrefu artist for the third phase.
Michal Iwanowski
Michal Iwanowski is a Polish-born, Cardiff-based artist and Head of Education and Training at Media Academy Cardiff. Michal studied Documentary Photography at the University of Wales, Newport, graduating in 2008. His work explores the relationship between landscape and memory; marking the silent passing of otherwise insignificant individuals and histories.
In 2009, he won the Emerging Photographers award by Magenta Foundation, as well as being given an Honourable Mention at Px3 Prix De Photographie, Paris. Michal received Arts Council of Wales and Wales Arts International grants for his projects Clear of People and Fairy Fort Project and in 2012 had a residency in Kaunas, supported by the Lithuanian Ministry of Culture.
Michal is based in Cardiff, and has been a member of the cARTrefu team since the project’s beginning in 2015. Working as an artist in phase one and mentor in phase two, Michal has continued as a cARTrefu artist for the third phase.
Laura Reynolds
Laura has been a practicing artist since 1999, holding a BA Hons in Ceramics and an MA in Fine Art from Swansea College of Art. After graduating in 1999, she created Swansea’s first pop up gallery and founded Applied Arts Un. Ltd, a community arts organisation dedicated to encouraging pride and participation in visual arts in Swansea and beyond.
Laura has worked with numerous schools, residential homes, community groups and organisations including: Arts Council of Wales, City & County of Swansea Council, Communities First, DACE Swansea, WCVA and Urban Foundry.
Laura recently exhibited her cARTrefu work in the cARTrefu Cube at the Taliesin, Swansea University, and at Craft in The Bay, Cardiff.
Laura is based in Swansea, and has worked as a cARTrefu artist since 2017.
Laura Reynolds
Laura has been a practicing artist since 1999, holding a BA Hons in Ceramics and an MA in Fine Art from Swansea College of Art. After graduating in 1999, she created Swansea’s first pop up gallery and founded Applied Arts Un. Ltd, a community arts organisation dedicated to encouraging pride and participation in visual arts in Swansea and beyond.
Laura has worked with numerous schools, residential homes, community groups and organisations including: Arts Council of Wales, City & County of Swansea Council, Communities First, DACE Swansea, WCVA and Urban Foundry.
Laura recently exhibited her cARTrefu work in the cARTrefu Cube at the Taliesin, Swansea University, and at Craft in The Bay, Cardiff.
Laura is based in Swansea, and has worked as a cARTrefu artist since 2017.
Prue Thimbleby
Prue Thimbleby has worked in Participatory Arts for over twenty years.
She now works as Arts in Health co-ordinator for ABM University Health Board where she leads a small Arts team. The job involves everything from making videos with patients so they can tell their stories, to setting up music performances, to facilitating an Artist in Residence programme and raising the funds to make it all happen.
Prue is also a sculptural basketmaker and storyteller and works freelance as a mentor for the Age Cymru cARTrefu project.
Prue’s Arts projects have ranged from setting up Swansea Digital Storytelling in Communities First regeneration areas to being Artistic Director for one of the 2012 Cultural Olympiad projects. In 2012 she was appointed as Art in Health Co-ordinator for ABMU Health Board.
Prue Thimbleby
Prue Thimbleby has worked in Participatory Arts for over twenty years.
She now works as Arts in Health co-ordinator for ABM University Health Board where she leads a small Arts team. The job involves everything from making videos with patients so they can tell their stories, to setting up music performances, to facilitating an Artist in Residence programme and raising the funds to make it all happen.
Prue is also a sculptural basketmaker and storyteller and works freelance as a mentor for the Age Cymru cARTrefu project.
Prue’s Arts projects have ranged from setting up Swansea Digital Storytelling in Communities First regeneration areas to being Artistic Director for one of the 2012 Cultural Olympiad projects. In 2012 she was appointed as Art in Health Co-ordinator for ABMU Health Board.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
St Davids Residential Home
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Beth Greenhalgh
Born in Huddersfield, Beth studied Time Based Practice at Cardiff School of Art and Design. After graduating in 2006 she has continued to exhibit and organise Art and Art events nationally and internationally. Her work has featured as part of Experimentica Cardiff, NRLA Glasgow, National Eisteddfod Wales, Croatia: My Land Staglinec, Holland: The Hague, Drag, Berlin: Black and blue and Estonia: Tallin Tartu Pernu, Diverse Universe festival and residency.
She has worked for art organisations such as Trace, Protoplay and to this day tactileBOSCH.
Her work utilizes highly aesthetic scenes to evoke uncanny ritual and images alluding to a mythical reality based on a distorted “popular culture”.
Beth is based in Cardiff, and has worked as a cARTrefu artist since 2017.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Wellfield Residential Care Home
Wellfield Residential Care Home
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Croeso i arddangosfarithwir cARTrefu
Welcome to cARTrefu Virtual Exhibition
Croeso i arddangosfarithwir cARTrefu
Welcome to cARTrefu Virtual Exhibition
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Cliciwch unrhyw le i ddechrau'r daith
Click anywhere to start the tour
Cliciwch unrhyw le i ddechrau'r daith
Click anywhere to start the tour
College Fields Nursing Home
College Fields Nursing Home
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Thomas Gabrielle Nursing Home
Thomas Gabrielle Nursing Home
Beth Greenhalgh
Born in Huddersfield, Beth studied Time Based Practice at Cardiff School of Art and Design. After graduating in 2006 she has continued to exhibit and organise Art and Art events nationally and internationally. Her work has featured as part of Experimentica Cardiff, NRLA Glasgow, National Eisteddfod Wales, Croatia: My Land Staglinec, Holland: The Hague, Drag, Berlin: Black and blue and Estonia: Tallin Tartu Pernu, Diverse Universe festival and residency.
She has worked for art organisations such as Trace, Protoplay and to this day tactileBOSCH.
Her work utilizes highly aesthetic scenes to evoke uncanny ritual and images alluding to a mythical reality based on a distorted “popular culture”.
Beth is based in Cardiff, and has worked as a cARTrefu artist since 2017.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Llanrhaeadr Hall Care Home
Llanrhaeadr Hall Care Home
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Lyndell House Nursing Home
Lyndell House Nursing Home
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Alison Moger
Alison Moger is an established visual artist and educator brought up in the South Wales valleys. Her work will always have an environmental and recycling ethos at its heart. Alison graduated in 2005 and now works with mixed media, print, and stitch. Alison is actively involved and committed to the visual arts with good listening, observational and communication skills.
Alison has the capacity to empathise with and understand people with difficulties in communication skills and has the ability to work effectively through imagination and creativity, with a flexible and resourceful approach.
Alison is based in Bridgend, and has worked as a cARTrefu artist since 2017.
Alice Briggs
Alice is an artist, arts educator and curator who has exhibited work in the UK and Europe. She is currently assistant curator of Ceredigion Museum based in Aberystwyth, and has experience in the commissioning and management of public art projects in her previous roles as Project Manager for Cywaith Cymru; the public art agency for Wales, arts tutor for Aberystwyth University’s School of Lifelong Learning, and gallery interpreter for Aberystwyth Arts Centre. Other positions have included arts facilitator for Haul Arts in Health.
Alice graduated in Visual Performance at Dartington College of Arts, and completed an MA in Art Museum and Gallery Studies from Newcastle. Since then she founded Blaengar – an emerging arts organisation focused on site-specific works and creative events in the public realm.
Alice has a growing interest in the recuperative benefits of creative arts within the health sector. She has experience of working within a variety of health care environments, including mental health, stroke rehabilitation and with children suffering long-term illnesses and learning difficulties.
Alice is based in Ceredigion, and has worked as a cARTrefu artist since 2017.
Beth Greenhalgh
Born in Huddersfield, Beth studied Time Based Practice at Cardiff School of Art and Design. After graduating in 2006 she has continued to exhibit and organise Art and Art events nationally and internationally. Her work has featured as part of Experimentica Cardiff, NRLA Glasgow, National Eisteddfod Wales, Croatia: My Land Staglinec, Holland: The Hague, Drag, Berlin: Black and blue and Estonia: Tallin Tartu Pernu, Diverse Universe festival and residency.
She has worked for art organisations such as Trace, Protoplay and to this day tactileBOSCH.
Her work utilizes highly aesthetic scenes to evoke uncanny ritual and images alluding to a mythical reality based on a distorted “popular culture”.
Beth is based in Cardiff, and has worked as a cARTrefu artist since 2017.
Beth Greenhalgh
Born in Huddersfield, Beth studied Time Based Practice at Cardiff School of Art and Design. After graduating in 2006 she has continued to exhibit and organise Art and Art events nationally and internationally. Her work has featured as part of Experimentica Cardiff, NRLA Glasgow, National Eisteddfod Wales, Croatia: My Land Staglinec, Holland: The Hague, Drag, Berlin: Black and blue and Estonia: Tallin Tartu Pernu, Diverse Universe festival and residency.
She has worked for art organisations such as Trace, Protoplay and to this day tactileBOSCH.
Her work utilizes highly aesthetic scenes to evoke uncanny ritual and images alluding to a mythical reality based on a distorted “popular culture”.
Beth is based in Cardiff, and has worked as a cARTrefu artist since 2017.
Claire Cawte
Haberdashery and Branded Collars
Much of this project is approached with the unfamiliar from my first experience of working in care homes, to sewing with seed stitch and the continual language and words used to describe dementia. What followed became familiar along with the labels given to those living with dementia.
The unfamiliar is the stitch, the seed where the reality began; it was like learning a new vocabulary and always associated with dementia, mood and behaviour.
I collected these words, and over time continually took needle to thread, thread to fabric and pierced the cloth repetitively, slowly over and again, the thread shaped the words I continually heard; sorrow, anger, pain, pity and shame.
Delicate and fragile, antiquated and old, brimming with stories, quiet voices of little told. Attention grabbing with the sensory and tactile qualities of making felt enthused the hushed tales unveiled.
Silken skin, fragile, delicate and antiquated, this likened to old dress patterns, the wispy tissue paper, the hand skills involved with the making of clothes, precious tools of the sewing box and haberdashery treasured we hold.
Perhaps the stories are a little confused, dexterity and vision now limited, yet the impact of engaging, sharing and interacting creates a happy stimulus. Often through tactile, visual or song, something inside is gently evoked. This maybe the surreal, maybe the unreal of it, experiencing these special moments. But sometimes you understand.
We had cunning ways to make new clothes, we embroidered the collars with stylish stitch, to unpick and re-stitch, for a new dress. New panties and petticoats made from the parachute silk from those soldiers whose planes had come down.
I’ve taken to a slower pace. I sit and sew, drink tea, eat cake and sit and sew, and slow down, sharing in blissful moments from behind those secret closed doors of homes we seldom enter. I’ve found comfort and great wisdom in the hidden gems.
Claire Cawte
Haberdashery and Branded Collars
Much of this project is approached with the unfamiliar from my first experience of working in care homes, to sewing with seed stitch and the continual language and words used to describe dementia. What followed became familiar along with the labels given to those living with dementia.
The unfamiliar is the stitch, the seed where the reality began; it was like learning a new vocabulary and always associated with dementia, mood and behaviour.
I collected these words, and over time continually took needle to thread, thread to fabric and pierced the cloth repetitively, slowly over and again, the thread shaped the words I continually heard; sorrow, anger, pain, pity and shame.
Delicate and fragile, antiquated and old, brimming with stories, quiet voices of little told. Attention grabbing with the sensory and tactile qualities of making felt enthused the hushed tales unveiled.
Silken skin, fragile, delicate and antiquated, this likened to old dress patterns, the wispy tissue paper, the hand skills involved with the making of clothes, precious tools of the sewing box and haberdashery treasured we hold.
Perhaps the stories are a little confused, dexterity and vision now limited, yet the impact of engaging, sharing and interacting creates a happy stimulus. Often through tactile, visual or song, something inside is gently evoked. This maybe the surreal, maybe the unreal of it, experiencing these special moments. But sometimes you understand.
We had cunning ways to make new clothes, we embroidered the collars with stylish stitch, to unpick and re-stitch, for a new dress. New panties and petticoats made from the parachute silk from those soldiers whose planes had come down.
I’ve taken to a slower pace. I sit and sew, drink tea, eat cake and sit and sew, and slow down, sharing in blissful moments from behind those secret closed doors of homes we seldom enter. I’ve found comfort and great wisdom in the hidden gems.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Emma Prentice
Emma is a community visual artist, working in South Wales. She runs art workshops with a variety of groups, including children and adults, particularly those with learning disabilities. She has an art and design background, which she uses to inspire and encourage people to make a leap in creating their own work.
In her own practice she enjoys using found objects, amongst them, abandoned items found in nature, skips and charity shops. She sees everything as potential for creation and loves to experiment with new ideas and approaches.
Emma is based in Cardiff, and worked as a cARTrefu artist during the first phase 2015 – 2017, part of the second phase 2018 – 2019, and returned for the third phase in 2020.
Emma Prentice
Emma is a community visual artist, working in South Wales. She runs art workshops with a variety of groups, including children and adults, particularly those with learning disabilities. She has an art and design background, which she uses to inspire and encourage people to make a leap in creating their own work.
In her own practice she enjoys using found objects, amongst them, abandoned items found in nature, skips and charity shops. She sees everything as potential for creation and loves to experiment with new ideas and approaches.
Emma is based in Cardiff, and worked as a cARTrefu artist during the first phase 2015 – 2017, part of the second phase 2018 – 2019, and returned for the third phase in 2020.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Southway Residential Home
Southway Residential Home
ANDRÉ STITT
Cwmbran
Medium: Etching print
My practice draws upon the materiality of the human environment and its abstract displacement through performance and print, with the memory of forms reimagined in a parallel universe. The ambition is for my work to create a sense of recognition counterbalanced by a sense of timelessness, loss and longing, proposed through paintings that seem to arrive as if from another time and place; a potential dissident space where eras elide.
Performance and print is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of time and place; proposing contemporary art practice as a transformative medium with redemptive potential.
As such, I see my work occupying a position that is not static or fixed, but part of a network of provocation that might be defined as ambiguous or ‘atemporal’ intervention.
Throughout 2019 and early 2020 I visited eight new towns throughout the UK and carried out a series of performance walks or ‘drifts’. The walks took place through town centres, housing estates, along pedestrian and cycle paths, through underpasses, and upon streets and pavements. In each location I pulled an etching plate attached to a piece of string behind me as I walked. This created an image of surfaces that would later be used for making a print. I also captured fragments of these walks on an iphone which was later edited into a film.
The simultaneous perception of different spatial locations that emerged through the process offered a simple and direct communication with the physical environment.
The performed activity of walking allowed multiple inscriptions to be etched into the plates. This provided fluctuations in surfaces to be recorded and historical data to be inscribed upon the plates. In this respect I came to regard the particularity of the etching process as a direct transmitter of experience. What emerged was a continuous and layered dialogue between lived experience, memory, recall and the direct physicality of the built environment. I would suggest that it is through the performed activity and its attendant and continuous act of etching that we might be drawn to a re-activation of memory and the spaces we have inhabited, in a future past that once held all our utopias.
Dymphna D'Arcy
Dymphna, originally from Ireland, was a professional and community artist, arts facilitator, educator, and lecturer based in Conwy North Wales. Dymphna started her career studying dance in London and later went on to complete an BA in Fine Art at Nottingham Trent University and an MA in Film at the University of Wales Newport. She also studied Noh Theatre, Butoh dance and experimental theatre.
Dymphna worked and performed throughout the UK, Europe and Japan collaborating with an eclectic group of professional artists. She worked with people of all ages and abilities inspiring everyone to discover their own unique form of expression. In 2007 Dymphna was awarded Arts Council of Wales Creative Arts Award for her contribution to the Arts in Wales.
Dymphna was a much loved and respected member of the cARTrefu team from the minute she joined in September 2017. She loved working with the residents and was always cherished by all in the care homes she worked.
Dymphna D'Arcy
Dymphna, originally from Ireland, was a professional and community artist, arts facilitator, educator, and lecturer based in Conwy North Wales. Dymphna started her career studying dance in London and later went on to complete an BA in Fine Art at Nottingham Trent University and an MA in Film at the University of Wales Newport. She also studied Noh Theatre, Butoh dance and experimental theatre.
Dymphna worked and performed throughout the UK, Europe and Japan collaborating with an eclectic group of professional artists. She worked with people of all ages and abilities inspiring everyone to discover their own unique form of expression. In 2007 Dymphna was awarded Arts Council of Wales Creative Arts Award for her contribution to the Arts in Wales.
Dymphna was a much loved and respected member of the cARTrefu team from the minute she joined in September 2017. She loved working with the residents and was always cherished by all in the care homes she worked.
Elizabeth Stonhold
Restricting her focus to the landscape surrounding her home of Fishguard, north Pembrokeshire, paradoxically allows Elizabeth the freedom to repeatedly explore and interpret the landscape in a personal way.
Through the discipline of drawing, Elizabeth describes her appreciation for the surrounding landscape as constantly reinvigorated. Energised by the process of creativity, she shares her skills by leading projects within communities and schools as a participatory arts practitioner.
Elizabeth Stonhold
Restricting her focus to the landscape surrounding her home of Fishguard, north Pembrokeshire, paradoxically allows Elizabeth the freedom to repeatedly explore and interpret the landscape in a personal way.
Through the discipline of drawing, Elizabeth describes her appreciation for the surrounding landscape as constantly reinvigorated. Energised by the process of creativity, she shares her skills by leading projects within communities and schools as a participatory arts practitioner.
Elizabeth Stonhold
Restricting her focus to the landscape surrounding her home of Fishguard, north Pembrokeshire, paradoxically allows Elizabeth the freedom to repeatedly explore and interpret the landscape in a personal way.
Through the discipline of drawing, Elizabeth describes her appreciation for the surrounding landscape as constantly reinvigorated. Energised by the process of creativity, she shares her skills by leading projects within communities and schools as a participatory arts practitioner.