Carwyn Evans

  • Biography
    photo courtesy of Cat Gardiner TEN Caerdydd
    photo courtesy of Cat Gardiner TEN Caerdydd

    Vale of Glamorgan 2012

    Gold Medal for Fine Art

    Carwyn Evans, originally from Newcastle Emlyn, is a Cardiff-based artist working in installation, sculpture, photography and mixed media. His practice explores personal and cultural senses of place, examining the pressures facing rural Wales, from an ageing farming population and agricultural crisis to the erosion of language, community and regional identity. Carwyn graduated from the University of Wales Institute, Cardiff in 2001 and completed an MA in Sculpture at the Royal College of Art in 2011. He has received multiple awards at the National Eisteddfod, including the Ivor Davies Award in 2003 and 2007, and the Gold Medal for Fine Art in 2012.

     

    His installation Unlliw has been acquired by the National Museum Wales.

  • Vale of Glamorgan 2012

    ‘Of shit and sunshine’

    Most of my practice tends to explore issues relating to my individual sense of place, through an extension and re-interpretation of my cultural experience.  I believe there is an interesting charge in the works between the potential for material to be formed and the echo/memory of what was formed. I also want it to speak of attraction and repulsion; of desire and disgust; of shit and sunshine. I ultimately want the work to have a sense of tension with moments that are dense and others that are light – making the viewer think or feel, rather than read.

     
    Docked Gently cupping hardwood abstract forms are docked lambs tails. The hardwood forms are my own translations from the moment of ‘autonomous’ High modernism in Art History where there’s a clear stripping back of the idiosyncratic and ‘sense of place’ on the grounds that abstraction is more appropriate to the present age. Art, as a result, artwork became self-referential, thus transportable, placeless, and nomadic. I don’t want to see it as such, so whilst acknowledging the valid aesthetic qualities of this moment in history, the docked lambs tails now facilitate their display, gently penetrating or caressing these forms with residue material from a real time and place. In essence, the bullish work of the past is given a condescending cwtch. (Larger version of this image opens in a popup).
    I Found Her in Rhymes Starting from a different threshold, ‘I found her in rhymes’ began with 3D computer vectors rather than physical material, which is then produced from being rapid-prototyped in resin and subsequently cast in bronze. It has a surreal element of mystery and can be read as the ultimate cog, slide carousel, industrial wheel or offers up that moment of sunshine - a chance to smile – in and among the weight and responsibility of custodianship. (Larger version of this image opens in a popup).
    Cast I also work with waste or used material in post-object state, such as the remnants left from a slip-casting process. Bone china forms are produced from the pairings/off-cuts from a slip casting process used to create fine tableware. Casting speaks of industrial repetition though the leftover has such expression and I believe in my hands, these remnants become sculptural objects. The ceramic material left on the studio table have subsequently been formed together to produce a ring, placed next to one another by playful manipulation, in a kind-of commemoration to the labour involved in some physical making processes. (Larger version of this image opens in a popup).

    Lle Celf 2011

  • Works
    • Carwyn Evans, Cadwyn/Chain
      Cadwyn/Chain
    • Carwyn Evans, Pala/Flutter
      Pala/Flutter
    • Carwyn Evans, Stwfflau/Staples
      Stwfflau/Staples

  • AUR Artists

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