Gweni Llwyd

Gweni Llwyd

I’m originally from Y Fron, a small village in North Wales. I have been based in Cardiff since starting the Fine Art course at Cardiff School of Art and Design, Cardiff Metropolitan University in 2014. 

My practice revolves around the mundane and the absurd. A lot of my work stems from my rural upbringing in North Wales. I often use sculpture and online video databases as starting points, approaching my practice as a multidisciplinary collage of stuff. 

My current work attempts to archive experiences of the digital and physical, responding to formal museum display methods, offering possible textured alternatives to interact with digital artefacts. These textures stem from a fascination with cheap, everyday materials, my memories of North Wales, as well as investigations around material as zeitgeist.

Latest Posts

25.11.2017 / Efflorescence / Subflorescence  →

Salt is rotting the walls, eating the bricks, leaving a dusty residue on the terazzo and marble. The foundations of Venetian buildings are immersed in sea water, causing a permanent capillary rise. Sea water is being constantly drunk by the buildings. The sulphate from the water attacks and cracks the mortar, the sodium chloride crystallises within stoney surfaces, causing a crunchy coating as soon as the water evaporates. The only way to prevent this is to completely stop the capillary rise, done so using a chemical or mechanical barrier. I can't help but compare the salt coated walls to a skin condition, a psoriasis or an eczema, a deterioration, a flaking of the surface. The building's with poison running through their capillaries and clinging onto their skin. Or maybe 'Rushes Minotaur' has had too much of an effect... 

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05.11.2017 / Freesa  →

While visiting the Arsenale I encountered one of the Tunisian 'The Absence of Paths' kiosks. These kiosks are not the work of any particular artist, but are a result of a project by curator Lina Lazaar. This is the first time Tunisia has been part of the Biennale for 50 years. The kiosks issue 'Freesa's' - fictional universal passports that allow anyone to cross any border, free of any discriminatory travel restrictions and laws. You complete some simple paperwork and are given your document. Intrigued, I walked up to the booth, and caught the woman working behind the desk off guard. She looked tired, and was gathering her things, as though she was attempting to leave the kiosk for a break. I apologised and said I could come back later if she wanted a rest. "If it's not you it will be someone else!" she exclaimed, and went on to explain how the other invigilators who were supposed to be working with her, covering breaks and so on, were unable to get there due to visa complications. The U.K. has access to 173 countries and territories visa free. Tunisia has access to 63. It was so easy for me to get up and leave for a month. I realised how much I'd been taking freedom of movement for granted, and wondered how much things might change post brexit. 

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03.11.2017 / Dreaming  →

The screeching of strings echoes through a dark room. A male figure slowly turns to look at me. I wake up. Initially, I’m freaked out. the male figure was frightening, sort of resembling Alexander Kaidanovsky’s character in ‘Stalker’, and the sound loud and intense. Then I realise the sound was familiar: a snippet from Migratory Motor Complex. The next day I encounter the piece awake (more or less), and can’t stop thinking about why and how I subconsciously attempted to illustrate it. 

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I'm not yet sure exactly what I will produce, however I'm excited to work as part of Unit(e) to explore and experiment with possible ideas. This will allow me to incubate ideas before my Venice stay in November. I'm interested in using the g39 library as a starting point for this project, and seeing how something relating to archiving or documenting could develop. I'm also interested in the prospect of collaboration with others - possibly other invigilators.