Rhôd 2011


Film by Jacob Whittaker

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The curators for Rhôd 2011 were Jason Pinder and Simon Whitehead.

Artists:

Andrea Buckley
Andrea Buckley works as an independent dance artist, her experience extends over 20 years, performing teaching and creating work in various professional contexts to include the wider community. Her primary research draws upon an extensive range of improvisation and contact skills as a way to continue to develop an awareness of the moving body and expand a repertoire of composition.

Christine Cooper
I intend to research the web of connections that surround the mill, including past, present, future, human and non-human connections. Based on this research I will build my own connections to the mill, using words, music and sounds.

David Cushley
Dave Cushley is an artist currently living and working in the UK. Exhibiting throughout the UK and internationally, his work is an irreverent fusion of the absurd, post-structuralism, and an unhealthy obsession with the nature of craft.

Graham Dunning
I am interested in people’s discarded memories and the function of archiving. Found objects, photographs and recordings feature in my work investigating notions of the artefact and implied narrative. Experimentation is important in my work, and my practice is often informed by scientific experimental protocol. My performances explore the relationship between sound and music with rhythmical elements and drone, repetition and variation. I perform using modified turntables, altered and adapted records, field recordings pressed to dubplates and self-built electronics. I also make sounds using other objects on the turntables, using the stylus as a primitive pick-up. The sounds present on the records I use are less important to me than the sounds I can impose onto them. As such, a metal disk with a hole in the middle is as valid a sound source as a pristine vinyl recording; this idea carries over into some of my recent visual work retexturing records. My installations also feature sound as a key element and some are interactive. Stutter (2009) invited viewers to read from a children’s book into a microphone whilst wearing headphones. The headphones played a delayed signal from the microphone back to the listener, causing them to stutter and slur. Untitled with Records and Hammer (2009) invited participants to smash up a pile of vinyl records on a workbench. Non-interactive installations have included Ring a bell until you tell yourself to stop (2010), made for a twenty four hour global art event, sixty_six_events. This work involved a reel-to-reel tape machine playing a loop of a bell recorded at different pitches, and using the bell as a capstan for the loop.

Ed Elliott
Ed Elliott adopts and explores traditional methods and styles of sculpture as well as more contemporary installation work. Elliott has a real sense of purpose when it comes to making, with communication and accessibility being key. With interests in mythology and folklore, Elliott makes sculptures that tell stories. From mythical figures carved from a tree to extensive rope installations, Elliott’s  work is varied in both subject and its visual language.

Ceri Rhys Matthews
Ceri Rhys Matthews is a folk musician of sorts. he mainly plays traditional and newly created dance melodies and song airs from south and west wales. he received a fine art training in painting as a young man, which has acted as a blueprint for his life and work. gradually the paint brush was replaced by other instruments until he settled on the wooden flute as a means of drawing. By using a narrative music from a specific geography as a framework for his tuneful drawings he tries to remove himself as a central ego working in social and historical isolation. in his work he seeks to celebrate the fabric of the lives of ordinary people, living and dead, by repeating their anonymous art and using it as a springboard to do absolutely anything he fancies.

Julie Murphy
Julie murphy sings and writes songs. especially fond of birdsong,
mountains, flat places, gardens, wild places, the sea, childhood
memories, dreams, stories of real people, ghost stories, funk,
travelling, coming home, playing the piano, kandinsky, trees, folk
songs, my children, my friends. not very fond of politicians and/or
arms dealers. her teachers have included noel white, joni mitchell,
tom waits, almeda riddle, robert wyatt, thomas hardy and anonymous.

Anthony Shapland
Darkness feels more solid than light. The loss of light sharpens other senses as we forget the daylit world we have just left. We strive to understand where the edges are, and in complete blackness they are unfathomable and unknown but feel closer to us, pressing in on the cones and rods that struggle to make sense of the blackness. On stopping a car in an unlit, unfamiliar place it can – falsely – seem so much more secure if the headlights are left on – they create a zone of logic, a space that can be inhabited. It might seem safer to do this, but in contradiction this amplifies the endlessness of night. Effectively a stage set is being created: to stand inside the beam one will become highly visible from within the darkness. It is almost as if two versions of reality are operating side by side: one rational based on vision, and one irrational based on imagination.

In this work areas of the site are made visible – not the easily understood daylit scene but spotlit scenarios, like museum dioramas or film sets. It is overtly theatrical and the islands of nature stand alone, some permanent and structural, others of nature at its fleeting but soon to fade best. The work is a mixture of documentary and fiction, the editing, and reviewing process has become a key element: the artificiality of the spotlight, the invented foley artist sound effects and distorted timelines blur the line between truth and fiction. The process has heightened my awareness of the fictions created from these edited moments of reality or conversely, the reality that is created by artifice.

Ben Stammers

I aim to inhabit Felin Glonc during the week, exploring the site and witnessing (directly/tangentially) the working processes of Andrea, Julie, Christine and Ceri. I will collect images at different times of day and light and try to be alive to both the static and the ephemeral reality of the place.
I will accumulate a sequence from these impressions and find a way of presenting it in the context of the final performance. The aim of this is to provide a different sense of time and space that will contrast/complement the live action.

Teresa Wakeling
Moving from an urban to a rural environment last year has enabled me to look differently at the way I live. My concept of ‘home’ has been challenged and my ideas have broadened about living in a far more simple way. Being surrounded by nature everyday is a constant inspiration, and this is reflected in my use of materials. I like to test the boundaries between art and craft, and am interested in many traditional skills, always trying my hand at new things. Recently I have been looking at willow weaving which has a long history in Somerset and which still thrives there today. My work can be fragile and transient at times, often changing in response to its environment. In the past I have made work which moves, work which forms shadow, and work which makes itself. I like to be visually entertained and play with the wind, the sun or a trick of the eye. I used paper in my most recent sculptural installation which worked with the subtle play of light and shadow, and used strict dimensions in line with that of nature’s growth.