Speaking to S4C’s Hansh about my work :
Hansh are available to follow on both instagram and Facebook – please find links below:
Link to News at Ten coverage of Artes Mundi : https://www.bbc.co.uk/iplayer/episode/b0c01dxf/bbc-news-at-ten-24012019
‘Glyndwr’s rebellion was precipitated by conflict with Reginald Grey, lord of Rhuthun. The two men had neighbouring lands, and dispute arose over a certain piece which Grey seized. When Glyndwr sought redress through Parliament, he was rebuffed. Parliaments response to warnings against such an attitude in the face of growing Welsh dissatisfaction was, ‘What care we for bare foot rascals?
Taken from: National Redeemer: Owain Glyndwr in Welsh Tradition By Elissa R. Henken
This week I took down an exhibition that I had curated and exhibited with at The Sho Gallery in Cardiff, on Womanby St. The exhibition took place within Wales’ first ever Independence festival ‘IndyFest’ and my work was created in direct response to thoughts on national identity in Wales.
The following words are my artist’s statement which accompanied my work:
“I find national identity quite difficult to give shape to as I agree with the notion that there are more differences within cultures than between them. I think there will always be conservative-minded people who want to connect national identity to only the culture of the establishment of the day and I think that this is doing a country a disservice. I found my secondary school to contain within it a clash between cultures that every now and then represented themselves (I think now incorrectly) as Welsh and English and that was quite interesting to be a part of.
I think Wales now has to define itself more than ever as a culturally and historically rich country because corporate homogenisation has been squeezing the individuality from wherever there is money to be made, but now the balance has tipped and progressive individuality is what will gain Wales financial confidence.
Created specifically for this exhibition, this work is an offshoot of a graphic novel I’ve been working on for some time called ‘Box-Son’, a story about an insanely damaged man raising two children; Gwenallt, and Box-son (a son kept locked in a box). ‘Box-son’ deals with various ways that we suspend our empathy for people.”
This exhibition was made possible thanks to a financial contribution by YesCymru. To find out more about their campaign for Welsh Independence, visit yes.cymru
I don’t know if it’s fair to compare the voters of Trump with the voters of Brexit but mascots for both movements tugged at the same fears and nostalgias. There’s some information flying around that Trump voters were largely financially safe so that’s why i can’t fully compare it to Brexit (even though I’m not sure that i believe that broke people didn’t vote for him by the basses) but with Brexit it seems that the only way I can understand the vote is that it was a fuck-you vote from the areas of the UK (funny name) that weren’t included in the shift to a more liberal outward looking society( https://www.ted.com/talks/alexander_betts_why_brexit_happened_and_what_to_do_next?language=en ) . And also a fuck-you vote from hardworkers who had been shafted into extreme poverty by a country that no longer valued hard graft (if it ever did) but who saw funding going to all sorts of projects around them that they weren’t included in…. I don’t know.
I finally got round to giving Meat Man’s band a fitting illustration. Until we get get round to recording our next track ‘Jailbait Rock'(coming soon), here’s his track ‘Local Schizophrenic’ again:
After half a days work on a serious project, i get 15mins playtime outside to sell some thoroughbreds on the street. No-one’s buying.