Oriel Môn, Llangefni, Anglesey, Wales.
Free Entry | 23 March 2024 – 07 July 2024
It has been a couple of months since I last attended an exhibition open to public submission. These are by far my favourite type of exhibition as I never know in advance what I am likely to experience, and the range of artworks almost always blows me away. This exhibition in Oriel Môn did just that, it amazed and blew me away. The range and complexity of the pieces submitted is astonishing. Unfortunately, I have caught the exhibition as I was passing through the area and it’s in its final three weeks as I write this article.
The prize bears Sir Kyffin’s Williams name as he was a hugely enthusiastic supporter of the gallery from its conception, and it was a fitting way to pay him a fitting tribute. The exhibition prizes this time had a panel of three judges who decided on the shortlist and overall winners. The exhibition itself is the sixth iteration of the Kyffin Williams Drawing Prize since it’s inception in 2009, with the exhibition now attracting much more attention and many more submissions than the initial offering. The artworks displayed this year are displayed in the gallery alongside a few of Kyffin Williams own works. I will highlight my personal favourites from this exhibition after a brief discussion of the winner.
The winner of the open prize for this exhibition is Ian Fisher, with his beautiful artwork entitled Atlas Cap y Ffŵl | Fools Cap Atlas. The map itself is an etching which has been filled with symbolism, locations and events of import to Wales. The artist has used a chevron pattern for the sea, similar to that used by the most ancient inhabitants of Wales on their monuments, but also has included Christian cross heads on the outside of the map itself. The map itself is created in quite a heavy dark print which really emphasises the details which the artist has given to the piece. A statement from the artist on the gallery’s page lets us know that the map is “based on things I have read, seen and been told about Wales”. The assortment of imagery on the map lets us know that the artist is familiar with Wales cultural heritage.
The artwork that caught my eye the best in the room was Awyrgampwr | Aerialist, a pencil on paper drawing by David Fellows. There is a subtle arrangement of focus and tone here, with the background area of the picture space being dear, indistinct and having an unwelcoming feeling, and the foreground containing an angel who is rendered in a mostly sharply focused manner. Her poise is slightly leaning forward as though she is just about to spring into action, those wings outstretched to support her in whatever she does. Her face has a very mixed expression on it as though she may not be sure what she is about to do. The features of her face and hair are slightly reminiscent of older portraits, similar in style to those of the 1920’s and 30’s.
I found the composition in Andy Dobie’s Sesiwin Gondemnio | Struggle Session to be rather interesting. The main imagery in his picture are three men who at first glance appear to be engaged in a wrestling match, though their contorted arms have a slightly Escher-esque quality to them. The contorted, slightly cubist shapes of the three men are contorted to not only interact with each other, but also to ensure that no part of their bodies passes outside of the pictures space. The faces of the two top figures look almost as contorted as their overly stressed bodies, giving a heightened sense of physical as well as emotional struggle in this drawing.
The extreme tightness of the picture space also removes the space for background, so the artist has just left that space empty, save for a horizon between what can be assumed are floor and walls. The brightness of the floor against shadowy dark legs mirrors the brightness of their torsos against the dark and foreboding recesses of the space, this lighting effect not only makes the main subject stand out better, it also heightens the tension within the image itself.
The beautiful seascape Porthor by Martha Grant was a delight to the eye. She has managed to pack a lot into this drawing, which was created primarily with charcoals; with a level of detail, I hadn’t imagined was possible in the medium. The composition itself is quite bright and airy feeling, and not overpoweringly dark as some charcoal works tend to be. The picture has been composed in four distinct parts, each taking on a single aspect of the cohesive seascape somehow though this brings together the scene into a cohesive single unit.
The bottom of the picture contains an indistinct piece of land, after which we see the sandy sea shore itself, there are waves where the sea meets the shore, with a trio of people stood there. Those three people give a perspective on the scale of the beach, and of the sea beyond them. The manner in which the artist has created the sky though is absolutely amazing, the bright disk of the sun can be seen piercing the sea fog, illuminating the wispy tendrils of fog and cloud as they stray from the main fog bank. The underside of that cloud is dull and dark, more foreboding; the entire scene becomes ethereal even though similar can be witnessed on many beaches throughout the world.
As I have already stated, this exhibition is almost over, it only has a week left to run before it is taken down, however, it is still recommended as it contains some absolutely beautiful art. The gallery itself is quite spacious and gives ample space to walk around the exhibition, taking in most of it at a glance as well as looking more closely at the artworks. Though it is a long way off, I am actually looking forward to the next iteration of this exhibition to see what gem’s may be found within.
Aisling on Art 
Short but some interesting pieces, seems all monochromatic but still an interesting eclectic mix !
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