In the past my work has
been laden with direct references to my Welsh Non-Conformist background. This
new exhibition is much more ambiguous and open to various interpretations.
The concept of an
exhibition in three parts evolved gradually and the three elements - individual
works, installation and drama - began influencing one another, intertwining and
taking on the others’ characteristics. For example, the three parts deal with
themes such as fate, faith, tradition, time and influences. Symbolic
significance runs through the pieces; the bench symbolises remembrance, the
shadows cast by leaves symbolises influence and the garden suggests refuge and
the circle of life.
The process of writing
the drama (Y Rhandir or ‘Allotment’)
has been especially interesting. It seems that my visual images were the
starting point and from there the idea of an installation piece took flight.
One can argue that things have developed in a back to front order. As my ideas
for the installation developed, becoming more like a set piece for a drama, in
turn sowing the seed of composing a drama as well. It is unusual for a set to
develop before the play is written.
Drama is a suitable
medium for dealing with maters that explore time, and even though my visual
work was the initial impetus to write the drama, the drama in its turn has now
begun to influence my visual work. The concept of a triptych that echoes the
three act play to convey time has become a vital element in the work. In time,
the three parts of the exhibition came to nourish one another becoming a
self-sustaining creative circle (or triangle).
The drama will be
performed during the official opening of the exhibition and the set will become
an installation and part of the exhibition for its duration. The props used for
the drama will be scattered in and amongst the installation, inspiring viewers
to create their own stories.
I consider my art to be
conceptual and as a result hope that it stimulates discussion. In the past I
feel that people have welcomed dialogue and discourse as support for
interpreting my work which is why I have included a foreword to a number of
pieces. The viewer is of course welcome to utterly ignore my forewords and form
their own interpretation of the work.
