3 Lle - Aneurin Jones 3 Lle
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-You reach a certain age, -and all you want to do is escape. | 0:00:34 | 0:00:38 | |
-But then you want to go back. | 0:00:39 | 0:00:41 | |
-I'm at that age now -where I want to go back! | 0:00:42 | 0:00:44 | |
-It's impossible -to relive those days... | 0:00:45 | 0:00:47 | |
-..but I can do it in my imagination. | 0:00:48 | 0:00:50 | |
-It's a sacred place. -It has significance for me. | 0:00:53 | 0:00:58 | |
-It's more about feelings than logic. | 0:00:58 | 0:01:01 | |
-I can't escape my background. | 0:01:03 | 0:01:06 | |
-It's called Pwll Ucha'. | 0:01:30 | 0:01:33 | |
-There is a Pwll Ucha' -and a Pwll Isa'. | 0:01:33 | 0:01:36 | |
-This is where I spent -the first two years of my life. | 0:01:37 | 0:01:41 | |
-That isn't the house -in which I was born... | 0:01:41 | 0:01:44 | |
-..but I lived here -from the age of two onwards... | 0:01:44 | 0:01:49 | |
-..before going to primary school -in the village. | 0:01:49 | 0:01:52 | |
-I lived here with my family - -my eldest brother, Tudor... | 0:01:53 | 0:01:59 | |
-..and Gron, who's now a farmer, -was born and raised here too. | 0:01:59 | 0:02:04 | |
-We then moved as a family -to a farm lower down the valley. | 0:02:04 | 0:02:09 | |
-It's a wonderful place. | 0:02:10 | 0:02:13 | |
-The silence made it a paradise. | 0:02:13 | 0:02:16 | |
-There were no roads. -We were surrounded by nature. | 0:02:16 | 0:02:20 | |
-An ideal location for a poet, -artist or musician. | 0:02:20 | 0:02:24 | |
-We were five children... | 0:02:31 | 0:02:34 | |
-..and two cousins, -the sons of a preacher... | 0:02:34 | 0:02:38 | |
-..who were worse than us. | 0:02:38 | 0:02:40 | |
-They'd come here -for their summer holidays. | 0:02:40 | 0:02:43 | |
-We used to slide down the roof. | 0:02:43 | 0:02:47 | |
-I'd think twice about doing it now. | 0:02:49 | 0:02:52 | |
-We'd all jump out -of the upstairs window... | 0:02:52 | 0:02:55 | |
-..except for five-year-old Mansel -who we pushed. | 0:02:56 | 0:03:00 | |
-He had to learn the hard way! | 0:03:00 | 0:03:03 | |
-The main difference back then... | 0:03:05 | 0:03:08 | |
-..was that people -didn't feel burdened by life. | 0:03:08 | 0:03:13 | |
-They'd happily go about -their pursuits. | 0:03:13 | 0:03:16 | |
-That might be -a romantic view of life... | 0:03:16 | 0:03:20 | |
-..because they were hard times. | 0:03:20 | 0:03:23 | |
-But, in the main, -I think people nowadays... | 0:03:23 | 0:03:29 | |
-..aren't as happy -as they were back then. | 0:03:29 | 0:03:32 | |
-Everyone had their own pursuits... | 0:03:32 | 0:03:35 | |
-..which gave their lives meaning. | 0:03:35 | 0:03:38 | |
-These days, the majority of people -have no meaning in their lives. | 0:03:38 | 0:03:42 | |
-It's no wonder that people are -forever seeking means of escapism. | 0:03:43 | 0:03:47 | |
-I didn't know the meaning -of the word 'lonely'. | 0:03:54 | 0:03:57 | |
-I was never lonely. -I could live with my dreams. | 0:03:57 | 0:04:01 | |
-They're an inherent part of you, -anyway. | 0:04:01 | 0:04:05 | |
-I'd walk down to the river -and over that way. | 0:04:05 | 0:04:09 | |
-There were lots of plum trees. | 0:04:09 | 0:04:12 | |
-And a fountain. | 0:04:12 | 0:04:14 | |
-What else was there to want in life? -I had everything back then. | 0:04:15 | 0:04:19 | |
-Children always want to -make something and draw pictures... | 0:04:24 | 0:04:30 | |
-..without being conscious of it. | 0:04:30 | 0:04:33 | |
-We were interested in art -as a family... | 0:04:33 | 0:04:37 | |
-..because my father -took an interest in it. | 0:04:37 | 0:04:40 | |
-He'd draw things like horses, -chapels and bridges. | 0:04:40 | 0:04:44 | |
-As children, we spend a lot -of our time mimicking other people. | 0:04:44 | 0:04:50 | |
-We mimic our parents. | 0:04:50 | 0:04:53 | |
-They have -the greatest influence on us. | 0:04:53 | 0:04:56 | |
-I never watched television. | 0:04:57 | 0:04:59 | |
-I'd never been to a gallery. | 0:04:59 | 0:05:01 | |
-But my father and I could both draw. | 0:05:01 | 0:05:04 | |
-He'd left school -long before I'd started. | 0:05:11 | 0:05:16 | |
-The first time I met Aneurin... | 0:05:17 | 0:05:19 | |
-..was when he came to school to meet -Miss Parry, our primary teacher. | 0:05:19 | 0:05:24 | |
-He brought her drawings -which she'd hang on the walls. | 0:05:25 | 0:05:29 | |
-He spent time talking to us. | 0:05:29 | 0:05:31 | |
-He was an art student -in Swansea back then. | 0:05:32 | 0:05:36 | |
-It was unusual for a boy from -this area to go to art college. | 0:05:39 | 0:05:44 | |
-People had heard of Van Gogh -chopping off his ear... | 0:05:44 | 0:05:49 | |
-..and starving himself in a garret. | 0:05:49 | 0:05:51 | |
-But they didn't think a Pwll Ucha' -lad would go on to do the same. | 0:05:51 | 0:05:56 | |
-I admired someone like Aneurin. | 0:05:59 | 0:06:02 | |
-Going away to college -was a big achievement. | 0:06:03 | 0:06:07 | |
-Then he returned. | 0:06:08 | 0:06:10 | |
-His drawings decorated -the school walls... | 0:06:10 | 0:06:13 | |
-..and Miss Parry asked us to -write down what we liked about them. | 0:06:14 | 0:06:19 | |
-It's surprising because -I don't often come here... | 0:06:31 | 0:06:35 | |
-..yet it's reawakened old feelings -and sparked the imagination. | 0:06:35 | 0:06:40 | |
-It's like therapy. | 0:06:40 | 0:06:42 | |
-Instead of going to the doctor, -people should come here. | 0:06:43 | 0:06:46 | |
-They needn't go further -than the fountain! | 0:06:47 | 0:06:49 | |
-Exactly. | 0:06:50 | 0:06:51 | |
-It's a strange feeling when you -move away to raise a family... | 0:06:52 | 0:06:56 | |
-..because although you lay down -roots in a new place... | 0:06:56 | 0:07:01 | |
-..you never really forget -the first ones. | 0:07:01 | 0:07:04 | |
-They're still -an inherent part of you. | 0:07:04 | 0:07:08 | |
-They're bound to be... | 0:07:08 | 0:07:10 | |
-..because your family has been -here for generations. | 0:07:10 | 0:07:14 | |
-These things don't happen by -accident. You're part of the land. | 0:07:14 | 0:07:19 | |
-I know that it's a cliche, but -it's true, you belong to an area. | 0:07:19 | 0:07:24 | |
-It saddens me a little, -if I'm honest. | 0:07:34 | 0:07:37 | |
-You can't relive the past. | 0:07:37 | 0:07:40 | |
-But it's possible in a dream. | 0:07:40 | 0:07:44 | |
-This is like a dream for me. | 0:07:45 | 0:07:47 | |
-Our family -was the last to live here. | 0:07:48 | 0:07:50 | |
-There's a tendency to live -on memories. | 0:07:51 | 0:07:54 | |
-And that is what's happened here. | 0:07:54 | 0:07:57 | |
-. | 0:08:08 | 0:08:09 | |
-888 | 0:08:14 | 0:08:14 | |
-888 - -888 | 0:08:14 | 0:08:16 | |
-I can't come to Swansea -without paying this place a visit. | 0:08:23 | 0:08:28 | |
-It's as simple as that. | 0:08:28 | 0:08:30 | |
-I park the car somewhere -and instinctively I walk in. | 0:08:33 | 0:08:37 | |
-It's part of you, or you've been -part of it, at one time or another. | 0:08:37 | 0:08:42 | |
-When I see the masterpieces, -memories come flooding back. | 0:08:42 | 0:08:47 | |
-As an art student, great emphasis -was placed on technique. | 0:09:06 | 0:09:12 | |
-I was trained, among others, by -three or four accomplished men... | 0:09:13 | 0:09:18 | |
-..who were exceptionally talented -individuals. | 0:09:19 | 0:09:23 | |
-You could come in here and relax. | 0:09:24 | 0:09:27 | |
-You'd study the works of art -and try to deconstruct them. | 0:09:27 | 0:09:32 | |
-This is incredible because -the technique is totally unique. | 0:09:48 | 0:09:54 | |
-There is only one Alfred James. | 0:09:54 | 0:09:57 | |
-An incredible craftsman. | 0:09:58 | 0:10:01 | |
-He constantly strived -for perfection. | 0:10:01 | 0:10:05 | |
-He was inspired by his subject... | 0:10:05 | 0:10:08 | |
-..and by deep emotion... | 0:10:08 | 0:10:10 | |
-..and it was something -he was intent on finishing. | 0:10:11 | 0:10:14 | |
-In some respect, -you could say he was a scientist... | 0:10:14 | 0:10:18 | |
-..because he wanted to take -his time... | 0:10:18 | 0:10:21 | |
-..to complete something that was -as close to perfect as possible. | 0:10:21 | 0:10:26 | |
-Notice the detail in the hair and -the different texture in the paint. | 0:10:26 | 0:10:31 | |
-He had a unique technique. | 0:10:31 | 0:10:33 | |
-I can't imagine anyone else -painting in the same way. | 0:10:33 | 0:10:38 | |
-He was an incredibly gifted artist. | 0:10:38 | 0:10:41 | |
-His work is certainly -one of the gallery's treasures. | 0:10:41 | 0:10:46 | |
-He brought a sense of unity -to everything in his work. | 0:10:49 | 0:10:53 | |
-I did my own experimenting -across the road. | 0:10:58 | 0:11:00 | |
-It was a case of going from the barn -to the academy, more or less. | 0:11:01 | 0:11:06 | |
-It was definitely an eye-opener. | 0:11:07 | 0:11:10 | |
-It was a big experiment. You were -going out into the big, wide world. | 0:11:10 | 0:11:14 | |
-You had to grow up quickly. | 0:11:15 | 0:11:19 | |
-I'd go home -and show them some of my work... | 0:11:19 | 0:11:23 | |
-..including some nude paintings, -just for fun... | 0:11:23 | 0:11:27 | |
-..and they'd start worrying. | 0:11:27 | 0:11:30 | |
-I'll never forget my first visit. | 0:11:33 | 0:11:35 | |
-I knew it was a vast building... | 0:11:36 | 0:11:38 | |
-..and I knew there were crafts -on display here... | 0:11:38 | 0:11:42 | |
-..as well as large paintings. | 0:11:43 | 0:11:45 | |
-I remember walking up the stairs -and being drawn to that corner... | 0:11:45 | 0:11:50 | |
-..to one of Augustus John's -small drawings. | 0:11:50 | 0:11:53 | |
-I was shocked because -I'd never seen anything like it. | 0:11:54 | 0:11:58 | |
-The artist could obviously draw... | 0:11:58 | 0:12:01 | |
-..and his drawings were certainly -better than his paintings. | 0:12:02 | 0:12:06 | |
-I've never forgotten that. | 0:12:06 | 0:12:11 | |
-I see that small drawing -in my dreams sometimes. | 0:12:11 | 0:12:14 | |
-Despite its simplicity, -it spoke to you. | 0:12:15 | 0:12:18 | |
-After college, -I went to Celtic Studios... | 0:12:29 | 0:12:32 | |
-..where I worked with stained glass, -as many others did at the time. | 0:12:33 | 0:12:37 | |
-But I soon got fed up because -it didn't require much creativity. | 0:12:37 | 0:12:43 | |
-So my friend and I decided to become -bus conductors instead. | 0:12:43 | 0:12:48 | |
-It was a completely different world. | 0:12:48 | 0:12:53 | |
-There was certainly -no creativity involved! | 0:12:53 | 0:12:56 | |
-One afternoon, -we were on a bus going to Sketty... | 0:12:57 | 0:13:01 | |
-..and one of the passengers -happened to be Kenneth Hancock... | 0:13:01 | 0:13:06 | |
-..Principal of the college. | 0:13:06 | 0:13:08 | |
-He said, -"What are you doing here, Jones?" | 0:13:08 | 0:13:11 | |
-I said, "Collecting fares, sir." | 0:13:12 | 0:13:15 | |
-And he more or less told me -to leave that to somebody else... | 0:13:15 | 0:13:19 | |
-..and to stop wasting my time. | 0:13:20 | 0:13:23 | |
-He asked me to go and see him -at the college. | 0:13:23 | 0:13:26 | |
-So I went, -and he offered me a part-time job. | 0:13:27 | 0:13:31 | |
-A Saturday-morning teaching slot. | 0:13:31 | 0:13:34 | |
-After a while, he asked me -how I was getting along... | 0:13:35 | 0:13:39 | |
-..and I said I was doing better than -I expected, and I was enjoying it. | 0:13:39 | 0:13:43 | |
-"Get into teaching then," he said. | 0:13:44 | 0:13:46 | |
-In the meantime, -I'd applied for a post... | 0:13:47 | 0:13:51 | |
-..at a new school, -Ysgol Y Preseli, in Crymych. | 0:13:51 | 0:13:54 | |
-I was offered the job. | 0:13:54 | 0:13:57 | |
-And that's where I taught -for 30 years. | 0:13:57 | 0:14:00 | |
-For the majority of that time -I was very happy. | 0:14:02 | 0:14:05 | |
-I'm happy they persuaded me -to exhibit my work here... | 0:14:14 | 0:14:19 | |
-..alongside -the work of Meirion, my son. | 0:14:19 | 0:14:24 | |
-They've pleased us both... | 0:14:24 | 0:14:26 | |
-..in terms of it being -a joint exhibition. | 0:14:27 | 0:14:30 | |
-But more importantly than that, -we're friends before being artists. | 0:14:30 | 0:14:35 | |
-The line is continuing. | 0:14:39 | 0:14:41 | |
-It doesn't finish in -one particular place or time. | 0:14:41 | 0:14:47 | |
-It's a continuation -of the race, in a way. | 0:14:47 | 0:14:50 | |
-It gives me -a great deal of pleasure. | 0:14:50 | 0:14:53 | |
-The people who buy my son's work... | 0:15:05 | 0:15:09 | |
-..differ from those who buy mine. | 0:15:09 | 0:15:11 | |
-Again, I think that's -a generational thing. | 0:15:11 | 0:15:16 | |
-If I exhibit in Cardiganshire... | 0:15:16 | 0:15:19 | |
-..the Cardis are always eager -to buy the work... | 0:15:19 | 0:15:22 | |
-..because it appeals to them. | 0:15:23 | 0:15:25 | |
-They seem to react to the rural -folk and horses in my paintings. | 0:15:25 | 0:15:31 | |
-But there's more going on -in my son's work. | 0:15:31 | 0:15:35 | |
-He paints foreign countries -and totally different subjects. | 0:15:35 | 0:15:40 | |
-It's right that his work -is different from mine... | 0:15:41 | 0:15:44 | |
-..because he hasn't had the same -experiences as me. | 0:15:44 | 0:15:48 | |
-At the end of the day, it's all -about what you've learnt and felt... | 0:15:48 | 0:15:53 | |
-..in your early life. | 0:15:53 | 0:15:55 | |
-It stays with you. | 0:15:55 | 0:15:57 | |
-I like spending a day here -now and again. | 0:16:07 | 0:16:11 | |
-I'm a son of the soil. | 0:16:11 | 0:16:14 | |
-There's an old Irish saying... | 0:16:14 | 0:16:18 | |
-..you can take a man from the bog... | 0:16:19 | 0:16:22 | |
-..but you can't take the bog -out of the man. | 0:16:23 | 0:16:26 | |
-That happens to be true in my case. | 0:16:26 | 0:16:28 | |
-Here, I'm not in the countryside, -surrounded by cobs and farms. | 0:16:43 | 0:16:48 | |
-Instead, I go out -in search of inspiration. | 0:16:48 | 0:16:53 | |
-I don't so much paint on location... | 0:16:55 | 0:16:58 | |
-..but it's where I get my ideas. | 0:16:59 | 0:17:01 | |
-I make sketches... | 0:17:01 | 0:17:04 | |
-..then come back here -and start the creative work. | 0:17:05 | 0:17:08 | |
-You could call this my headquarters. | 0:17:08 | 0:17:12 | |
-The place where it all happens. | 0:17:12 | 0:17:16 | |
-There is 50 years' worth... | 0:17:30 | 0:17:34 | |
-..of inspiration in here. | 0:17:34 | 0:17:37 | |
-It was once a garage -where we kept the car. | 0:17:38 | 0:17:41 | |
-There's plenty of room... | 0:17:41 | 0:17:44 | |
-..until it's time to exhibit. | 0:17:44 | 0:17:46 | |
-The paintings then start to pile up, -of course. | 0:17:46 | 0:17:50 | |
-But, as a rule, there's enough space -for myself and my son to work here. | 0:17:50 | 0:17:56 | |
-We have to do something -with that stallion over here. | 0:17:56 | 0:18:00 | |
-Apart from that, I think we're done. | 0:18:00 | 0:18:03 | |
-I can't remember how many -masterpieces have been created here. | 0:18:04 | 0:18:08 | |
-As the years have passed... | 0:18:09 | 0:18:11 | |
-..I think we've spent more time -discussing than painting. | 0:18:11 | 0:18:15 | |
-Despite going to art college... | 0:18:15 | 0:18:18 | |
-..spending time in here was -the real education for me... | 0:18:18 | 0:18:23 | |
-..in terms of visual art. | 0:18:23 | 0:18:26 | |
-I'd often come home from school... | 0:18:26 | 0:18:29 | |
-..and sit on a milking stool -for half an hour... | 0:18:29 | 0:18:33 | |
-..watching him work. | 0:18:33 | 0:18:35 | |
-I'd notice the colours he'd use... | 0:18:36 | 0:18:38 | |
-..and the different paint textures. | 0:18:39 | 0:18:41 | |
-It just happened gradually -like that... | 0:18:42 | 0:18:46 | |
-..over a period of decades. | 0:18:46 | 0:18:50 | |
-Out of the composition process... | 0:18:50 | 0:18:53 | |
-..we've created about -four or five paintings. | 0:18:53 | 0:18:56 | |
-There's nowhere like this place. | 0:18:56 | 0:18:59 | |
-It's where my imagination -has free rein. | 0:19:00 | 0:19:03 | |
-You're creating -a work of substance... | 0:19:03 | 0:19:06 | |
-..that makes sense and brings joy -to the artist himself and to others. | 0:19:07 | 0:19:13 | |
-One painting leads to another. | 0:19:13 | 0:19:17 | |
-The one I've just finished -is propped up against the wall. | 0:19:18 | 0:19:22 | |
-It inspires the next one... | 0:19:22 | 0:19:25 | |
-..which tends to develop quickly. | 0:19:26 | 0:19:28 | |
-Who knows what happens when the -imagination is allowed to run free? | 0:19:28 | 0:19:33 | |
-Creativity comes from a part of us -we don't understand... | 0:19:33 | 0:19:37 | |
-..and where deeper meanings -are hidden. | 0:19:37 | 0:19:42 | |
-It should always remain a mystery. | 0:19:42 | 0:19:45 | |
-Much of that has influenced the way -I approach my painting. | 0:19:45 | 0:19:50 | |
-I don't profess to be a great master -because the great masters of old... | 0:19:54 | 0:19:58 | |
-..especially those -of the Renaissance... | 0:19:59 | 0:20:02 | |
-..had their own agenda. | 0:20:03 | 0:20:05 | |
-When Michelangelo painted -the Sistine Chapel ceiling... | 0:20:05 | 0:20:08 | |
-..he depicted himself. | 0:20:09 | 0:20:11 | |
-He painted himself in as the devil. | 0:20:11 | 0:20:14 | |
-I've flattered myself here. | 0:20:18 | 0:20:21 | |
-I'm self-important in this one. | 0:20:21 | 0:20:24 | |
-I'm quite the centrepiece. | 0:20:24 | 0:20:26 | |
-No, I'm only kidding. | 0:20:26 | 0:20:29 | |
-I just liked the pattern it created. | 0:20:29 | 0:20:32 | |
-Every painting -begins with a pattern. | 0:20:32 | 0:20:36 | |
-By now, many people have come -to know about this place. | 0:20:42 | 0:20:48 | |
-I get phone calls -from farmers and cob owners... | 0:20:51 | 0:20:54 | |
-..in mid Wales and Ceredigion... | 0:20:54 | 0:20:57 | |
-..who say, -"Do you have any cobs, Jones?" | 0:20:57 | 0:21:01 | |
-And I say, "No, but I have plenty -of paintings." | 0:21:02 | 0:21:05 | |
-"Can we come down to see them?" | 0:21:06 | 0:21:08 | |
-So they come down, have a look -and are taken with them. | 0:21:08 | 0:21:13 | |
-"How much is that, Jones?" | 0:21:13 | 0:21:15 | |
-Sometimes, I put the price up -if I know the customers! | 0:21:15 | 0:21:20 | |
-"How much will you knock off?" | 0:21:21 | 0:21:23 | |
-And you're straight back -in the mart again. | 0:21:23 | 0:21:26 | |
-It doesn't bother me -because it's a bit of fun. | 0:21:26 | 0:21:30 | |
-But the happiness it gives people -is immeasurable. | 0:21:30 | 0:21:34 | |
-I'm reliving the past. | 0:21:41 | 0:21:43 | |
-I'm reliving it through my son, -Meirion, and my two grandsons. | 0:21:43 | 0:21:48 | |
-It's the continuation -of the family line... | 0:21:48 | 0:21:51 | |
-..and the continuation -of this creativity... | 0:21:51 | 0:21:54 | |
-..which is as alive as ever. | 0:21:55 | 0:21:57 | |
-I'd like to think that they'll have -children of their own one day... | 0:21:57 | 0:22:01 | |
-..so that the line continues. | 0:22:01 | 0:22:04 | |
-Some people argue -that a particular gift... | 0:22:04 | 0:22:08 | |
-..is passed down seven generations. | 0:22:08 | 0:22:11 | |
-It doesn't disappear completely -after that... | 0:22:11 | 0:22:15 | |
-..but it's watered down -and weakened somewhat. | 0:22:15 | 0:22:20 | |
-The seventh generation's gift -is as strong as the first. | 0:22:20 | 0:22:24 | |
-The three places are important -because they tell a story... | 0:22:32 | 0:22:36 | |
-..and represent periods in my life. | 0:22:36 | 0:22:39 | |
-My upbringing within a special -family in a special place. | 0:22:39 | 0:22:44 | |
-And the discovery -of a whole new world in Swansea. | 0:22:44 | 0:22:48 | |
-It was a bohemian lifestyle... | 0:22:48 | 0:22:51 | |
-..compared with the respectability -of country life. | 0:22:52 | 0:22:55 | |
-And yet I returned. | 0:22:56 | 0:22:57 | |
-I chose Mynachlogddu, Crymych, -and all these places... | 0:22:58 | 0:23:01 | |
-..because they gave me -an opportunity... | 0:23:02 | 0:23:05 | |
-..to relive certain times. | 0:23:05 | 0:23:07 | |
-In some way, -my paintings are like old friends. | 0:23:11 | 0:23:15 | |
-People can put a name to them. | 0:23:15 | 0:23:17 | |
-And there is a definite -similarity... | 0:23:18 | 0:23:20 | |
-..because real people -are depicted... | 0:23:21 | 0:23:23 | |
-..in my paintings. | 0:23:24 | 0:23:27 | |
-The country, its land... | 0:23:27 | 0:23:29 | |
-..its animals and people... | 0:23:30 | 0:23:32 | |
-..are Aneurin Jones's imaginary -and creative bread and butter. | 0:23:33 | 0:23:38 | |
-S4C Subtitles by Adnod Cyf. | 0:24:07 | 0:24:09 | |
-. | 0:24:09 | 0:24:09 |
