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Welsh Art Of The 20th Century is the story of | 0:00:02 | 0:00:04 | |
how artists grappled with their tumultuous times, | 0:00:04 | 0:00:07 | |
producing work that sometimes reflected and sometimes challenged | 0:00:07 | 0:00:11 | |
the Wales they'd emerged from. | 0:00:11 | 0:00:15 | |
-Once upon a time, I wanted to -be -one of those artists. | 0:00:15 | 0:00:19 | |
And after school here in Aberdare, | 0:00:19 | 0:00:21 | |
I went to Hornsey College of Art in London, | 0:00:21 | 0:00:24 | |
and straight into the art college revolt of 1968. | 0:00:24 | 0:00:28 | |
All in agreement, I propose that we now march down to Wood Green Civic Centre. | 0:00:30 | 0:00:35 | |
'Later, as Minister for the Arts, I hit the headlines | 0:00:35 | 0:00:38 | |
'when I criticised what I saw as the emptiness of some modern art. | 0:00:38 | 0:00:44 | |
'Now, I've retired from politics and taken up painting again. | 0:00:44 | 0:00:49 | |
'In this series, I'm going to look at the story of art in Wales during the 20th century, | 0:00:49 | 0:00:55 | |
'meet some amazing artists and discover some unforgettable works of art.' | 0:00:55 | 0:00:59 | |
Welsh art from the 1960s on, like Wales itself, was fast-changing. | 0:01:16 | 0:01:21 | |
There were new fashions, new music, and new art. | 0:01:21 | 0:01:24 | |
There were protests in the street, and there was revolution in the air. | 0:01:24 | 0:01:29 | |
And art was no longer confined to the walls of art galleries. | 0:01:29 | 0:01:33 | |
It came onto the streets. It could be anywhere. | 0:01:33 | 0:01:36 | |
Pop artists like the American Andy Warhol | 0:01:42 | 0:01:45 | |
took the world of consumer society as their subject. | 0:01:45 | 0:01:50 | |
And in Britain, painters like Peter Blake were also making art | 0:01:50 | 0:01:53 | |
inspired by the world of music and movies. | 0:01:53 | 0:01:56 | |
Ifor Davies was born in Treharris in 1935. | 0:01:58 | 0:02:03 | |
He's now one of the grand old men of Welsh art, | 0:02:03 | 0:02:06 | |
but in the 1960s, he was a real revolutionary, | 0:02:06 | 0:02:09 | |
making works of art that were literally explosive. | 0:02:09 | 0:02:13 | |
I have always wanted to go to the extreme of whatever I'm doing. | 0:02:14 | 0:02:19 | |
Go to the uttermost point to explore it. | 0:02:19 | 0:02:23 | |
I think I was the first in Britain, maybe in Europe, to use | 0:02:23 | 0:02:27 | |
explosives as the essential part of a work of art. | 0:02:27 | 0:02:30 | |
This was a human figure | 0:02:32 | 0:02:35 | |
with explosives attached to each of the organs. | 0:02:35 | 0:02:39 | |
The sight of this transformation of materials, disintegrating - | 0:02:39 | 0:02:44 | |
there was an element which you could almost call beauty in that. | 0:02:44 | 0:02:49 | |
I think it had a lot to do with the element of destruction | 0:02:51 | 0:02:56 | |
in the world. | 0:02:56 | 0:02:57 | |
Wars, and that element of destruction in society. | 0:02:57 | 0:03:02 | |
For much of his early career, Ifor was based away from Wales, | 0:03:06 | 0:03:11 | |
but in the late 1970s, | 0:03:11 | 0:03:13 | |
he returned home to teach in Newport. | 0:03:13 | 0:03:15 | |
His work increasingly took on Welsh history and politics | 0:03:15 | 0:03:18 | |
as its subject matter. | 0:03:18 | 0:03:21 | |
At one time, you daren't talk about Welsh art. | 0:03:22 | 0:03:27 | |
It was infra dig. You weren't supposed to | 0:03:27 | 0:03:30 | |
associate art with Wales. | 0:03:30 | 0:03:34 | |
Anything Welsh was stigmatised. | 0:03:34 | 0:03:37 | |
My aim is really to have different ideas coming along | 0:03:39 | 0:03:43 | |
one after the other, different conceptions of reality. | 0:03:43 | 0:03:46 | |
Different expressions of myself. | 0:03:46 | 0:03:49 | |
But a lot of people have said to me, it looks all done by different people. | 0:03:49 | 0:03:53 | |
Trying to be a bit cheeky, you know. And I quite like that idea. | 0:03:53 | 0:03:57 | |
In 2010, Ifor created a mosaic of St David for Westminster Cathedral, | 0:04:00 | 0:04:05 | |
which was unveiled during the papal visit. | 0:04:05 | 0:04:08 | |
Quite a journey for a '60s art rebel. | 0:04:08 | 0:04:11 | |
It took me a long time to work on that. | 0:04:12 | 0:04:14 | |
I'd work during the day, a bit like St David himself did, | 0:04:14 | 0:04:18 | |
and then do some research in the night. | 0:04:18 | 0:04:20 | |
I did the design for it, for this mosaic. Life-size. | 0:04:20 | 0:04:25 | |
The figure of St David, standing on the mound | 0:04:25 | 0:04:29 | |
which rose up under his feet at Brefi, which became Llanddewi Brefi. | 0:04:29 | 0:04:35 | |
I've had one or two quite scathing remarks. | 0:04:37 | 0:04:43 | |
People being quite witty about it. | 0:04:43 | 0:04:45 | |
One said that he looked like someone from the '70s | 0:04:45 | 0:04:48 | |
with a fashionable haircut. | 0:04:48 | 0:04:50 | |
Like Ifor Davies, other artists in the 1960s and 1970s | 0:04:55 | 0:04:59 | |
made work that criticised consumer society. | 0:04:59 | 0:05:02 | |
Terry Setch first came to Cardiff in the 1960s. | 0:05:03 | 0:05:08 | |
The subject matter for his paintings at first seems pretty uninspiring - | 0:05:08 | 0:05:13 | |
all of the rubbish that washes up on the shore line of Cardiff Bay. | 0:05:13 | 0:05:18 | |
But out of this detritus, he's created a series of powerful works | 0:05:18 | 0:05:25 | |
that highlight our disposable society, | 0:05:25 | 0:05:27 | |
and which have a strange beauty all of their own. | 0:05:27 | 0:05:30 | |
For over 40 years now, Terry Setch has explored | 0:05:44 | 0:05:46 | |
the shore line near Penarth like an artistic beachcomber. | 0:05:46 | 0:05:50 | |
Once I saw that coastline, I had to get down onto that beach | 0:05:52 | 0:05:55 | |
and start walking, and head up towards Lavernock. | 0:05:55 | 0:05:58 | |
And that was an exciting thing. | 0:05:58 | 0:06:00 | |
I was fixed | 0:06:02 | 0:06:03 | |
and it almost became a sublime place. | 0:06:03 | 0:06:08 | |
The two islands that change, | 0:06:08 | 0:06:10 | |
disappear in the mist, | 0:06:10 | 0:06:12 | |
and then they appear again. | 0:06:12 | 0:06:14 | |
Walking towards Sully, and lo and behold, there's a car. | 0:06:14 | 0:06:18 | |
It's on the beach. You look up, you can see where it's coming from. | 0:06:18 | 0:06:22 | |
And I thought, well, joy riders, tipping them over and crashing down. | 0:06:22 | 0:06:27 | |
The conjuncture of these two opposite things which people have | 0:06:30 | 0:06:35 | |
very strong opinions about - one is nice, one is nasty. | 0:06:35 | 0:06:39 | |
One is violent, and yet the other one's violent, | 0:06:39 | 0:06:41 | |
but it's violent in a different way. Nature. | 0:06:41 | 0:06:44 | |
One of the themes that you've been exploring is the whole question of pollution | 0:06:48 | 0:06:52 | |
and what it does to us and what it does to our landscape and why we do it. | 0:06:52 | 0:06:56 | |
When did you become interested in this? | 0:06:56 | 0:06:59 | |
Oil came into it, in a very big way. | 0:06:59 | 0:07:02 | |
I think the Torrey Canyon went down in '68, | 0:07:02 | 0:07:04 | |
something like that. | 0:07:04 | 0:07:07 | |
-In the Scilly Isles. -Yes. And, there was this pollution on beaches. | 0:07:07 | 0:07:13 | |
This oil business. And I think it's been growing and growing and growing. | 0:07:13 | 0:07:17 | |
It seems fundamentally one of the things which is constantly | 0:07:17 | 0:07:22 | |
making all manner of greed and pollution. | 0:07:22 | 0:07:26 | |
So I made a very large painting which was called | 0:07:26 | 0:07:29 | |
Once Upon A Time There Was Oil, | 0:07:29 | 0:07:31 | |
which is the picture the Tate bought. | 0:07:31 | 0:07:33 | |
-Tate Britain? -Yes. It may not be the most significant painting, | 0:07:33 | 0:07:37 | |
it's one of the largest paintings in the collection. | 0:07:37 | 0:07:40 | |
They've got one of the most significant titles, if you like, | 0:07:40 | 0:07:43 | |
because in fact, it's a thing that's gone on | 0:07:43 | 0:07:46 | |
for decades and decades and it's still going on. | 0:07:46 | 0:07:49 | |
There's a maturity to Terry Setch's work | 0:07:52 | 0:07:54 | |
that's born of decades of experiment and study. | 0:07:54 | 0:07:57 | |
Another member of the '60s generation who shares that depth of experience | 0:08:02 | 0:08:07 | |
is Wales's most internationally acclaimed artist, | 0:08:07 | 0:08:10 | |
the sculptor David Nash. | 0:08:10 | 0:08:12 | |
He came to Blaenau Ffestiniog in the late 1960s. | 0:08:14 | 0:08:17 | |
And for four decades, this place, its landscape, its people, | 0:08:17 | 0:08:22 | |
have had an influence on his work. | 0:08:22 | 0:08:24 | |
Coming to Blaenau Ffestiniog was a turning point in David's work, | 0:08:30 | 0:08:34 | |
and showed him the potential of using natural materials close to hand. | 0:08:34 | 0:08:38 | |
I've known this area since I was three. | 0:08:40 | 0:08:43 | |
My grandparents have lived nearly all their lives in north Wales. | 0:08:43 | 0:08:47 | |
The weather is a very strong phenomenon here. | 0:08:47 | 0:08:51 | |
And it draws you much more into natural cycles, | 0:08:51 | 0:08:54 | |
so I started hitting the wood with an axe, fresh, unseasoned wood, | 0:08:54 | 0:08:58 | |
which splits much more easily. And it has behaviour - | 0:08:58 | 0:09:02 | |
as it tries out, it shrinks and warps and bends and does something. | 0:09:02 | 0:09:06 | |
It goes on forming itself after I've stopped carving. | 0:09:06 | 0:09:10 | |
In 2010, there was a major retrospective of David Nash's work | 0:09:16 | 0:09:21 | |
at the Yorkshire Sculpture Park. | 0:09:21 | 0:09:23 | |
It was a while before I found my work, which is really | 0:09:30 | 0:09:34 | |
those nine cracked balls which are at the sculpture park. | 0:09:34 | 0:09:38 | |
When they were making the playing field, opposite here, | 0:09:38 | 0:09:41 | |
there was a small ash was cut down and I got it and I cut with an axe, | 0:09:41 | 0:09:45 | |
nine lumps and they just split open on their own. | 0:09:45 | 0:09:48 | |
This was a revelation to me, because I was still making these coloured things, | 0:09:48 | 0:09:52 | |
but I just was aware that I needed to enter into the material I was using more, | 0:09:52 | 0:09:58 | |
and that was really my first real step. | 0:09:58 | 0:10:00 | |
It was like going back to kindergarten, | 0:10:00 | 0:10:03 | |
and really, in a way, I stayed there because there's so much to do. | 0:10:03 | 0:10:07 | |
David Nash also works in the landscape itself. | 0:10:13 | 0:10:17 | |
His ash dome is a living work of art, | 0:10:17 | 0:10:20 | |
made out of a circle of ash trees, | 0:10:20 | 0:10:22 | |
which David planted in the late 1970s. | 0:10:22 | 0:10:25 | |
He keeps its location secret and for 40 years | 0:10:25 | 0:10:29 | |
he's carefully trained and pruned the trees to form a dome. | 0:10:29 | 0:10:34 | |
The North Wales landscape also had a profound effect | 0:10:45 | 0:10:49 | |
on the painter Peter Prendergast. | 0:10:49 | 0:10:51 | |
Although he was born near Caerphilly, | 0:10:51 | 0:10:54 | |
he lived just outside Bethesda for many years until his death in 2007. | 0:10:54 | 0:10:58 | |
The year before he died, he was filmed near South Stack in Anglesey, | 0:10:58 | 0:11:02 | |
sketching for what would be his last epic painting, Close To Ellin's Twr. | 0:11:02 | 0:11:08 | |
The way the work has developed is by simply observing and trying to | 0:11:08 | 0:11:11 | |
understand what's happening, visually and physically, | 0:11:11 | 0:11:15 | |
and then trying to invent a way of describing what I can see. | 0:11:15 | 0:11:19 | |
I prefer really to compare what I'm doing with what Turner did, | 0:11:19 | 0:11:22 | |
than to compare it with somebody | 0:11:22 | 0:11:25 | |
who's just painting souvenirs of the scene. | 0:11:25 | 0:11:27 | |
If I wanted to make something which was realistic, | 0:11:27 | 0:11:30 | |
then I'd come and just take photographs. | 0:11:30 | 0:11:33 | |
Homecomings are a common theme | 0:11:38 | 0:11:40 | |
in Welsh art of the late 20th century. | 0:11:40 | 0:11:42 | |
If artists in earlier decades felt they had to work away in London, | 0:11:42 | 0:11:47 | |
more recently many have been drawn back to Wales. | 0:11:47 | 0:11:51 | |
Kevin Sinnott was born in Sarn near Bridgend. | 0:11:54 | 0:11:57 | |
He studied at the Royal College of Art and worked successfully | 0:11:57 | 0:12:00 | |
in London before returning to South Wales 15 years ago. | 0:12:00 | 0:12:04 | |
He's now one of Wales's most popular artists, | 0:12:04 | 0:12:07 | |
with exuberant figure paintings set in the valleys near his home. | 0:12:07 | 0:12:11 | |
Kevin, you're one of the few painters who, for me, | 0:12:13 | 0:12:19 | |
actually paints what Wales is about. | 0:12:19 | 0:12:23 | |
It looks like Wales, it feels like Wales, | 0:12:23 | 0:12:27 | |
and I get the vibrancy of this landscape in your paintings. | 0:12:27 | 0:12:33 | |
I do like to think of them as being about the community | 0:12:33 | 0:12:36 | |
and about life and about the warmth | 0:12:36 | 0:12:38 | |
and about the characters that you see in the valleys of Wales | 0:12:38 | 0:12:43 | |
and the passion, rather than a miner going to work. | 0:12:43 | 0:12:46 | |
Of course there weren't any miners going to work | 0:12:46 | 0:12:49 | |
by the time I got back here anyway. | 0:12:49 | 0:12:50 | |
I'd rather paint a young girl flying a kite. | 0:12:50 | 0:12:54 | |
It's a process that is initially quite abstract, | 0:12:55 | 0:12:58 | |
more akin to abstract expressionism than it is to | 0:12:58 | 0:13:01 | |
more traditional, realistic, figurative painting, initially. | 0:13:01 | 0:13:06 | |
This is where the dynamism of the compositions comes from. | 0:13:06 | 0:13:09 | |
It comes from being immersed in the art. | 0:13:09 | 0:13:13 | |
One of the most popular paintings that's come out of Wales, | 0:13:21 | 0:13:25 | |
or anywhere, over the last 30 years | 0:13:25 | 0:13:27 | |
is your painting Running Away With The Hairdresser. | 0:13:27 | 0:13:31 | |
Where did the idea for that come from? | 0:13:31 | 0:13:33 | |
I did this painting of this one single guy, | 0:13:33 | 0:13:37 | |
just his torso, running away. | 0:13:37 | 0:13:39 | |
His arms are pumping against a background of terraced houses. | 0:13:39 | 0:13:43 | |
A very simple idea. | 0:13:43 | 0:13:45 | |
It's aspirational, in a way. | 0:13:45 | 0:13:48 | |
This guy is running away. Where to? | 0:13:48 | 0:13:52 | |
University, perhaps, better things. | 0:13:52 | 0:13:54 | |
And I did another figure, | 0:13:54 | 0:13:56 | |
and so it became a guy running away with a girl, or vice versa. | 0:13:56 | 0:14:00 | |
He could be leaving his wife to go and live around the corner. | 0:14:00 | 0:14:04 | |
He's not necessarily running away from his background, he's simply running away. | 0:14:04 | 0:14:08 | |
The title, I don't know where it came from. | 0:14:08 | 0:14:12 | |
She didn't have a comb in her hand. | 0:14:12 | 0:14:14 | |
He didn't have a hair dryer. | 0:14:14 | 0:14:17 | |
My brother-in-law actually left his wife for a hairdresser. | 0:14:18 | 0:14:23 | |
It took place in Wales. | 0:14:23 | 0:14:25 | |
They weren't on my mind. They definitely weren't on my mind. | 0:14:25 | 0:14:29 | |
I just thought "running away with the hairdresser", | 0:14:29 | 0:14:31 | |
it's about running away. | 0:14:31 | 0:14:34 | |
It's about... | 0:14:34 | 0:14:37 | |
It's what I did, I suppose. | 0:14:37 | 0:14:38 | |
All the artists in this programme and for much of the series so far have been men, | 0:14:43 | 0:14:48 | |
but with the emergence of feminism in the 1970s, Welsh women artists | 0:14:48 | 0:14:53 | |
have increasingly made their presence felt. | 0:14:53 | 0:14:56 | |
Mary Lloyd Jones has been an artist since the 1950s, | 0:14:58 | 0:15:02 | |
making beautifully coloured paintings inspired by | 0:15:02 | 0:15:05 | |
the landscape around her Devil's Bridge birthplace. | 0:15:05 | 0:15:09 | |
If it wasn't for living in Wales, I think, and I suppose West Wales, | 0:15:09 | 0:15:14 | |
I wouldn't be painting at all, because it is | 0:15:14 | 0:15:18 | |
going out into the countryside and seeing all the geology. | 0:15:18 | 0:15:23 | |
There's such variety in Wales. | 0:15:23 | 0:15:27 | |
I think the landscape is the subject. | 0:15:27 | 0:15:30 | |
You can't get away from the lead mines, you see. | 0:15:30 | 0:15:33 | |
They're such a feature of this landscape. | 0:15:33 | 0:15:37 | |
Initially, I think the contrast of colour was what drew me. | 0:15:37 | 0:15:44 | |
You've got lots and lots of green, then you'll have this slab of grey. | 0:15:44 | 0:15:50 | |
The stone sort of sparkles in certain lights. | 0:15:50 | 0:15:55 | |
In the early 1970s, feminism and women's liberation swept across the whole landscape. | 0:16:04 | 0:16:11 | |
How did that affect you? | 0:16:11 | 0:16:13 | |
Well, I was very excited about all of those developments | 0:16:13 | 0:16:17 | |
and all those books that came out. I read them all. | 0:16:17 | 0:16:20 | |
I was very fired by it all. | 0:16:20 | 0:16:24 | |
I wanted my work to say clearly that "This is made by a woman." | 0:16:24 | 0:16:31 | |
That's how I got into working with the fabrics, the cloth and the dyes. | 0:16:31 | 0:16:38 | |
Then I thought, "I want to make a connection with the quilting, | 0:16:38 | 0:16:42 | |
"this largely geometric tradition, very bold, strong shapes, | 0:16:42 | 0:16:49 | |
"and the landscape." | 0:16:49 | 0:16:51 | |
And I thought if, "I can bring these two things together, that will be interesting." | 0:16:51 | 0:16:57 | |
By showing the landscape | 0:16:57 | 0:17:00 | |
or elements from the natural world in this method, | 0:17:00 | 0:17:06 | |
using these materials, it would appear fragile and threatened. | 0:17:06 | 0:17:12 | |
So feminism enabled me to make this sort of language. | 0:17:12 | 0:17:18 | |
There were very few women artists working at that time. | 0:17:18 | 0:17:22 | |
Was that an added difficulty for you? | 0:17:22 | 0:17:25 | |
Well, yes. I think | 0:17:25 | 0:17:27 | |
it's always... It's not a level playing field at all. | 0:17:27 | 0:17:30 | |
Although this situation has got a lot better, and I think there are a lot | 0:17:32 | 0:17:38 | |
of very good women artists working in Wales at this present time. | 0:17:38 | 0:17:43 | |
But you're always in the minority. | 0:17:43 | 0:17:47 | |
It was quite uncomfortable, but I thought, "Stick it out." | 0:17:47 | 0:17:52 | |
Another important woman artist in Wales is Sue Williams. | 0:17:57 | 0:18:01 | |
Arguably her powerful and challenging work | 0:18:01 | 0:18:04 | |
could only come from a woman's perspective. | 0:18:04 | 0:18:08 | |
Her large-scale paintings are full of provocative imagery, | 0:18:08 | 0:18:12 | |
dealing explicitly with sexuality, abuse and violence, | 0:18:12 | 0:18:15 | |
although often undercut with her savage wit. | 0:18:15 | 0:18:19 | |
Shani Rhys James is Wales's best-known female artist. | 0:18:27 | 0:18:32 | |
Born in Australia to a Welsh father, | 0:18:32 | 0:18:34 | |
she came to work in Wales in the 1980s. | 0:18:34 | 0:18:36 | |
She often uses her own face in her paintings, | 0:18:36 | 0:18:39 | |
and the results are frequently disconcerting. | 0:18:39 | 0:18:43 | |
Shani, the faces in your paintings are very raw faces. | 0:18:55 | 0:19:00 | |
Are they based on self-portraits, | 0:19:00 | 0:19:03 | |
or are they about a wider psychology? | 0:19:03 | 0:19:05 | |
Well, they are often my head, | 0:19:05 | 0:19:10 | |
although I don't really think of it as my head. | 0:19:10 | 0:19:12 | |
When you say rawness, it's trying to get past that mask, if you like, | 0:19:13 | 0:19:18 | |
that everybody puts up. | 0:19:18 | 0:19:20 | |
This whole enormous pressure that women have | 0:19:20 | 0:19:23 | |
to be beautiful, to be perfect, | 0:19:23 | 0:19:26 | |
whether their face is dropping or needs to be lifted up, | 0:19:26 | 0:19:29 | |
and all the thing about age that we are obsessed about. | 0:19:29 | 0:19:34 | |
I think what I'm really trying to do | 0:19:34 | 0:19:36 | |
is to show the rawness of a woman actually being a human being. | 0:19:36 | 0:19:41 | |
More than anybody else I know, you've got signature colours. | 0:19:43 | 0:19:46 | |
Are you a conscious user of a fairly limited palette? | 0:19:46 | 0:19:51 | |
It's the most powerful colour, red. | 0:19:51 | 0:19:54 | |
It's so primal. | 0:19:54 | 0:19:56 | |
My paintings are about contact and powerfulness | 0:19:56 | 0:20:01 | |
and just showing what I feel and just saying, "This is what it is. | 0:20:01 | 0:20:05 | |
"This is what I feel. This is what I have experienced." | 0:20:05 | 0:20:08 | |
Still lifes, yeah, I like doing still lifes, | 0:20:08 | 0:20:10 | |
but that's not what it's about. It's about a political stance. | 0:20:10 | 0:20:14 | |
I'm very interested in the psychology of people and the humanness | 0:20:14 | 0:20:17 | |
of people and not doing pretty little paintings, | 0:20:17 | 0:20:19 | |
but doing something that makes people question themselves. | 0:20:19 | 0:20:23 | |
So when you get this isolated child in the cot, | 0:20:23 | 0:20:26 | |
it's not a direct autobiographical rendition, | 0:20:26 | 0:20:30 | |
it's about a metaphor. | 0:20:30 | 0:20:31 | |
It's about a symbol of something, our human condition. | 0:20:31 | 0:20:35 | |
It's about how we treat children in this country. | 0:20:35 | 0:20:37 | |
What is a child? A child is a little spirit, | 0:20:37 | 0:20:40 | |
a spirit that's there, ready, open and receptive. | 0:20:40 | 0:20:44 | |
And I have a right to my existence and I'm here | 0:20:44 | 0:20:48 | |
and I am as much a human being as an adult. | 0:20:48 | 0:20:51 | |
It's really a lot to do with the innocence of a child. | 0:20:51 | 0:20:55 | |
Since the 1960s, questions of national identity | 0:21:06 | 0:21:10 | |
became important issues for some artists in Wales. | 0:21:10 | 0:21:13 | |
They began to explore the widely held images of Wales and Welsh stereotypes. | 0:21:13 | 0:21:19 | |
Some of them found inspiration in the campaigns to promote | 0:21:19 | 0:21:22 | |
the Welsh language and in the ideals of Welsh nationalism. | 0:21:22 | 0:21:26 | |
One of these artists is Iwan Bala | 0:21:30 | 0:21:32 | |
who combines Welsh imagery, writing and history in his work. | 0:21:32 | 0:21:37 | |
In Wales there was Becker, Ifor Davies, | 0:21:38 | 0:21:40 | |
Paul Davies, there was the writing of Peter Lord. | 0:21:40 | 0:21:45 | |
There were lots of things that seemed to be reaching a critical mass | 0:21:45 | 0:21:49 | |
about how Welsh culture could start talking about itself, | 0:21:49 | 0:21:53 | |
rather than being looked at or viewed from the outside. | 0:21:53 | 0:21:56 | |
So this idea of wanting to remake Wales. | 0:21:56 | 0:21:59 | |
I guess that's what I'm doing in the paintings, is Wales reappears in | 0:21:59 | 0:22:03 | |
different guises, because all through history that's what has happened. | 0:22:03 | 0:22:07 | |
You are using images of Wales, but the core image is a map of Wales. | 0:22:09 | 0:22:14 | |
It started off as a kind of Wales shape, like an island on the horizon. | 0:22:14 | 0:22:20 | |
But it was the shape that we would recognise from the map. | 0:22:20 | 0:22:23 | |
It's not about total patriotism, it's not about nationalism. | 0:22:23 | 0:22:27 | |
It's about the ideas that people form from their early life | 0:22:27 | 0:22:34 | |
and how do they think in certain ways about certain places? | 0:22:34 | 0:22:37 | |
These works relate to the times I'm living in and the things | 0:22:44 | 0:22:49 | |
I've come across and read and written and whatever, you know. | 0:22:49 | 0:22:53 | |
Gwyn Alf Williams you've caught quite a lot here. | 0:22:53 | 0:22:57 | |
Gwyn has used the term "remembrancer". | 0:22:57 | 0:23:00 | |
Are you a remembrancer or a creator? | 0:23:00 | 0:23:03 | |
The history of Wales is something that has to be kept alive, | 0:23:03 | 0:23:07 | |
in a sense, because as a minority small nation status, | 0:23:07 | 0:23:11 | |
it has been difficult sometimes to keep that history alive. | 0:23:11 | 0:23:15 | |
When you're looking forward, you make sure you're also looking back. | 0:23:15 | 0:23:19 | |
If we forget history then we're in trouble. | 0:23:19 | 0:23:22 | |
I see myself as a participant in a new Wales, in a way. | 0:23:22 | 0:23:28 | |
A Wales that is looking forward, that is developing | 0:23:28 | 0:23:31 | |
in ways that we couldn't have imagined 20 years ago. | 0:23:31 | 0:23:35 | |
By the end of the 20th century, | 0:23:46 | 0:23:48 | |
there were thousands of artists working in Wales | 0:23:48 | 0:23:51 | |
and dozens of galleries and arts centres, | 0:23:51 | 0:23:53 | |
many financed out of the public purse, | 0:23:53 | 0:23:56 | |
like this multi-million-pound extension to Oriel Mostyn in Llandudno. | 0:23:56 | 0:24:02 | |
On show at Oriel Mostyn is an exhibition by Tim Davies. | 0:24:09 | 0:24:14 | |
The Welsh representative at the 2011 Venice Biennale, | 0:24:14 | 0:24:17 | |
Tim is a conceptual artist whose art is | 0:24:17 | 0:24:21 | |
as much about the ideas behind the work as the images on the wall. | 0:24:21 | 0:24:26 | |
Tim Davies's work is often about memory | 0:24:26 | 0:24:29 | |
and the traces left by previous generations. | 0:24:29 | 0:24:33 | |
One part of the Oriel Mostyn exhibition | 0:24:33 | 0:24:36 | |
is called Figures in a Landscape | 0:24:36 | 0:24:37 | |
and is made up of dozens of old postcards | 0:24:37 | 0:24:40 | |
from which the people in them have been carefully removed. | 0:24:40 | 0:24:44 | |
We don't use postcards as much as we used to. | 0:24:44 | 0:24:47 | |
In their own little way, no matter how banal some comments might be, | 0:24:47 | 0:24:51 | |
the "wish you were here" scenario, | 0:24:51 | 0:24:52 | |
there's a little social comment | 0:24:52 | 0:24:54 | |
of that person writing this card at that moment in time. | 0:24:54 | 0:24:58 | |
The figures themselves, | 0:24:58 | 0:25:01 | |
I began to become interested in this notion of figures | 0:25:01 | 0:25:04 | |
parading in costume, if you like, a national costume or folk costume. | 0:25:04 | 0:25:09 | |
Occasionally on the back of a card it will say "typical costumes and dances". | 0:25:09 | 0:25:14 | |
The words in the title, particularly in this piece, | 0:25:14 | 0:25:17 | |
are very carefully chosen. It's very simple. | 0:25:17 | 0:25:19 | |
Figures in a Landscape. Where are the figures? The figures aren't there. | 0:25:19 | 0:25:23 | |
That's a very simple question, and one can get that. | 0:25:23 | 0:25:26 | |
The figures are not in the landscape. So am I looking at a landscape? | 0:25:26 | 0:25:29 | |
In this case, we see the reverse. | 0:25:29 | 0:25:32 | |
You're not. So that's a card I found | 0:25:32 | 0:25:35 | |
where clearly someone bought it and decided not to use it. | 0:25:35 | 0:25:39 | |
But by reversing the card, the figures are still in a landscape. | 0:25:39 | 0:25:42 | |
It almost becomes a curious, minimalist landscape. | 0:25:42 | 0:25:46 | |
These figures - disparate, scattered, removed and lost, | 0:25:46 | 0:25:51 | |
are looking for places. | 0:25:51 | 0:25:53 | |
So for me that just touches upon | 0:25:53 | 0:25:55 | |
one of our many contemporary questions about | 0:25:55 | 0:25:59 | |
figures in terms of identity but also figures in terms of belonging. | 0:25:59 | 0:26:03 | |
You know, borders. | 0:26:03 | 0:26:04 | |
We hear a lot about border controls, asylum seekers, refugees. | 0:26:04 | 0:26:09 | |
That's really where the starting point is. | 0:26:09 | 0:26:11 | |
I don't expect an audience necessarily to get that. | 0:26:11 | 0:26:14 | |
I think ambiguity is not such a bad thing. | 0:26:20 | 0:26:22 | |
I'm just someone who happens to be an artist | 0:26:22 | 0:26:25 | |
who's trying to grapple with certain questions | 0:26:25 | 0:26:29 | |
that I think we could ask ourselves, in terms of humanity. | 0:26:29 | 0:26:35 | |
I met curator Karen MacKinnon at the beginning of the series. | 0:26:45 | 0:26:48 | |
I caught up with her again at Oriel Mostyn | 0:26:48 | 0:26:51 | |
to talk about the current state of Welsh art. | 0:26:51 | 0:26:54 | |
I think we do produce really good artists in Wales. | 0:26:54 | 0:26:58 | |
There's really brilliant artists and art, | 0:26:58 | 0:27:02 | |
and when we show at the Venice Biennale, for instance, | 0:27:02 | 0:27:06 | |
I think the artists that we show there can stand alongside | 0:27:06 | 0:27:09 | |
any of those other artists or pavilions from anywhere in the world. | 0:27:09 | 0:27:13 | |
If you look at the last show that was at the Mostyn Gallery, | 0:27:13 | 0:27:16 | |
Mirrors And Plans, in which 25 artists from across Wales were shown, | 0:27:16 | 0:27:20 | |
and this is the first show in a series of shows. | 0:27:20 | 0:27:23 | |
I think they're going to do it every couple of years. It was incredible | 0:27:23 | 0:27:27 | |
because you had painting, installation, sculpture, video. | 0:27:27 | 0:27:31 | |
It's really, really diverse and vibrant. | 0:27:31 | 0:27:34 | |
Artists are just taking ideas in any kind of direction | 0:27:34 | 0:27:38 | |
and working in so many different ways. | 0:27:38 | 0:27:42 | |
There are big issues to face in terms of funding for the arts, | 0:27:42 | 0:27:46 | |
of course, for the whole of the country. | 0:27:46 | 0:27:49 | |
Major cuts. | 0:27:49 | 0:27:50 | |
I think despite that, artists will continue to work and find other ways to work. | 0:27:50 | 0:27:56 | |
Wales will continue to have a really vibrant art scene. | 0:27:56 | 0:28:00 | |
The art produced in Wales in the 20th century | 0:28:09 | 0:28:12 | |
bears comparison with art produced anywhere in the world. | 0:28:12 | 0:28:16 | |
It is as rich in its inventiveness, quality and variety | 0:28:16 | 0:28:20 | |
as any art produced in London, New York or Paris. | 0:28:20 | 0:28:25 | |
What the future holds for art in Wales depends not only on the value | 0:28:25 | 0:28:30 | |
that we place on what's been achieved already, | 0:28:30 | 0:28:33 | |
but on how we judge the importance of training and supporting new generations of artists | 0:28:33 | 0:28:39 | |
so that they might continue to enrich our lives in a thousand different ways. | 0:28:39 | 0:28:45 | |
Subtitles by Red Bee Media Ltd | 0:29:03 | 0:29:06 | |
E-mail [email protected] | 0:29:06 | 0:29:09 |