Yr Hen Feistres: Myfyrdodau ar broses o waith creadigol dwys

Mae'n ddechrau mis Hydref ac mae Penny yng nghamau gorffen ei brodweithiau manwl o baentiadau clasurol. Mae'r cyfnod olaf hwn yn gyfnod dwys mewn unrhyw brosiect creadigol, ac nid yw’r Hen Feistres yn wahanol o gwbl. Mae treulio oriau gyda nodwyddau ac edau wedi rhoi amser i Penny fyfyrio ar sut mae cam cyntaf y prosiect hwn wedi mynd.

Gwers fawr fu symud trefn blaenoriaethau. Roedd llawer o waith recordio a dogfennu i'w wneud ar y dechrau. Mae hyn wedi gadael Penny â swmp o waith creadigol dwys i'w gwblhau yn nes ymlaen, gyda mwy o ymdeimlad o bwysau amser.

Y wers fwyaf fu peidio â cheisio gwneud y gwaith recordio a dogfennu ar y dechrau, ond efallai hyd yn oed treulio'r hanner cyntaf yn gwneud yn unig. Cymerodd amser hir iawn i mi fynd i’m rhythm ... i fynd i mewn i'r rhythm hwnnw a welwch yn y cyfnod dwys o weithio.

Yn hytrach na chychwyn gyda fideos, cyfryngau cymdeithasol ac ati, mae Penny’n teimlo efallai y byddai’n well treulio’r wythnosau cynharach yn canolbwyntio ar y gwneud ei hun, yn mynd i mewn i lif y gwaith creadigol, ac yn dod â’r recordio a’r ddogfennaeth i mewn unwaith y bydd hyn wedi dechrau.

Mae Penny wedi cael trafferth gyda’i meddyginiaeth ADHD drwy gydol y prosiect, sydd wedi amharu ymhellach ar y broses greadigol (diolch byth mae’r feddyginiaeth bellach wedi’i sortio, felly ni ddylai hyn fod yn broblem yng ngham dau!)

Myfyriodd Penny hefyd ar ei hamgylchedd gwaith - yn enwedig yr angen i weithio yng nghwmni eraill. Mae hi wedi arbrofi gyda chymysgedd o weithio ar ei phen ei hun gartref a gweithio mewn gofodau a rennir fel stiwdio gydweithio leol, Gofod Gwneud Machynlleth, ac yng nghartrefi ffrindiau. Mae’r hyn y mae wedi’i ddysgu’n glir iawn: mae bod mewn cwmni cyfeillgar ag eraill yn hanfodol i’w ffocws creadigol ei hun.

Dw i wir angen bod o gwmpas pobl pan fydda i'n gwneud y math yma o waith dwys. Gan weithio ar fy mhen fy hun does gen i ddim y momentwm, does gen i neb i’m helpu gyda thasgau dirdynnol, does gen i ddim y ffocws sydd ei angen arnaf.

Mae Penny bellach wedi ymuno â'r grŵp cydweithio, fel y gall y math hwn o weithio cymdeithasol gael ei strwythuro'n hawdd yn ei hwythnos.

Mae un myfyrdod olaf ar sut mae amseroedd - ac amser - wedi newid ers anterth y pandemig Covid, a sut mae hyn yn effeithio ar ein synnwyr o'r hyn sy'n bosibl:

Ni allaf ddisgwyl gweithio fel y gwnes yn ystod y blynyddoedd pandemig. Mae bywyd yn wahanol nawr, mae mwy o ymyriadau, ni all rhywun gael y dyddiau llawn hynny lle cawsom ni, fel y gwyddoch, ein gorfodi i eistedd ar y soffa! Gallaf barhau i frodio a pharhau â'r prosiect o hyd, ond yn fy marn i, roedd fy nisgwyliadau ychydig yn afrealistig ynghylch faint o ffocws y byddwn yn gallu ei gael.

Er gwaethaf y rhwystrau y mae hi wedi eu hwynebu, mae Penny yn obeithiol am Yr Hen Feistres. Wrth iddi agosáu at gwblhau’r cam cyntaf, mae'n edrych ymlaen at gam dau, ac yn awyddus i fynd â'r hyn a ddysgwyd o'r misoedd cyntaf hyn gyda hi.

A pheidiwch ag anghofio dilyn Penny ar Instagram a TikTok @pennytristram am fwy o ddiweddariadau prosiect!

Old Mistress: Reflections on a process of intense creative work

It’s early October and Penny is in the finishing stages of her detailed embroideries of classical paintings. This last stretch is an intense time in any creative project, and Old Mistress is no different. Spending hours with needle and thread has provided time for Penny to reflect on how stage one of this project has gone, and note the learnings she’d like to carry forwards into the second stage.

A major lesson has been to shift the order of priorities. The project has been rather ‘front loaded’, meaning that there was a lot of recording and documenting to do at the start. This has left Penny with the bulk of intensive creative work to complete later on, with a greater sense of time pressure. 

The biggest lesson has been not to try and get the recording and documentation done at the beginning, but perhaps even spend the first half purely making. It took me a really long time to get into my flow…to get into that flow state you find in the intense stage of working.

Rather than kicking off with videos, social media etc, Penny feels it may be better to spend the earlier weeks focusing on the actual making, getting into the flow of creative work, and bringing the recording and documentation in once this is properly underway.

Penny has had trouble with her ADHD medication throughout the course of the project, which has caused further disruption to the creative process (thankfully the meds are now sorted, so this needn’t be a problem in stage two!)

Penny also reflected on her working environment - particularly the need to work in company with others. She has experimented with a mix of working alone at home, and working in shared spaces such as a local co-working studio, Mach Makerspace, and in friends’ homes. The learning is very clear: that being in friendly company with others is essential to her own creative focus.

I really need to be around people when I’m doing this kind of intense work. Working alone I don’t have the momentum, I don’t have the body-doubling, I don’t have the focus I need.

Penny has now joined the co-working group, so that this kind of social working can be easily structured into her week.

One last reflection is on how times - and time - have changed since the height of the Covid pandemic, and how this impacts our sense of what’s possible:

I can’t expect to work as I did during the pandemic years. Life is just different now, there are more interruptions, one cannot have those full days where we were, you know, forced to sit on the sofa! I can still carry on with embroidering and the project, but I think my expectations were a little bit unrealistic around the amount of focus I’d be able to have.

Despite the obstacles she’s faced, Penny is optimistic about Old Mistress. On the ‘finishing streak’, she’s looking forward to stage two, and keen to take with her the learnings from these first few months.

Want to see the completed pieces? Follow Penny on her Instagram page @pennytristram for ongoing updates, and on TikTok @pennytristram.

Yr Hen Feistres: Heriau a thechnegau mewn brodwaith arluniol

Hanner ffordd i mewn i brosiect yr Hen Feistres, mae Penny yng nghanol y cyfnod creadigol ac yn brysur gyda'i brodwaith. Mae hi wedi dewis gweithio ar yr holl ddarnau cychwynnol ar yr un pryd, gan fod hyn yn ei gwneud hi'n haws cael 'adolygiadau gan gymheiriaid' gan gyd-artistiaid wrth iddi fynd ymlaen.

Ymhlith yr artistiaid sydd wedi adolygu gwaith Penny ac wedi cynnig adborth ac awgrymiadau adeiladol mae’r artist tecstilau o Gymru, Judith Musker Turner, sydd wedi bod yn fentor a chydweithredwr ers peth amser. Mae Penny hefyd wedi derbyn cefnogaeth gan un o’i dylanwadau mwyaf, Victoria Rose Richards, arloeswr ym maes brodwaith tirlun sy’n siarad yn agored am y croestoriadau rhwng ei hawtistiaeth a’i chelf; a chymheiriad a chefnogwr creadigol hir-amser Fin McAllister.

Detail of Berthe Morisot’s Summer’s Day (1879), and Penny’s in-progress rendition.

Wrth ddisgrifio’r broses greadigol, mae Penny’n teimlo ei bod hi’n dod allan o’r ‘canol blêr’ – cyfnod o heriau sydd wedi dysgu llawer iawn iddi ac wedi profi ei hyder. Mae’r rhain yn cynnwys ymestyn terfynau amser y prosiect i ddarparu ar gyfer salwch, dod o hyd i atebion technegol i broblemau gyda deunyddiau, a goresgyn hunan-amheuaeth yng nghanol gwneud ‘Summer’s Day’ Berthe Morisot (uchod) – brodwaith mawr sydd angen miloedd o bwythau i’w greu. “Mae'r un yma yn bendant yn fy ngwthio y tu hwnt i’r hyn rwy’n gyfforddus ei wneud”, eglura.

Ar gyfer y rhan fwyaf o'r gwaith hwn, mae Penny yn defnyddio cyfuniad o bwyth hir a byr a phwyth satin i adeiladu ei delweddau. Mae’r repertoire syml hwn yn caniatáu iddi ymarfer brodwaith dull rhydd a chreu effaith arluniol gyda’r edau, gyda’r pwythau hir a byr yn arbennig yn ei galluogi i asio lliwiau, gan ddynwared y ffordd y gallai peintiwr ar gynfas.

Mae Penny hefyd wedi bod yn arbrofi gyda dulliau newydd, gan gynnwys dysgu techneg newydd o'r enw 'pwyth gorwedd', un o awgrymiadau Judith. Yma, mae edafedd trwchus wedi'u haenu mewn patrymau, ac yna'n cael eu pwytho i'w lle - perffaith ar gyfer creu awyr chwyrlïol llachar 'The Scream' gan Edvard Munch. Arbrofodd Penny â defnyddio edau plastig o hen raffau pysgota a ddarganfuwyd ar y traeth a chanfod eu gwead stiff yn ddelfrydol ar gyfer y darn hwn.

Yn y brodwaith hwn o 'Madame Victoire' (1787) gan Adélaide Labille-Guiard, canfu Penny fod yr edafedd acrylig wedi'i uwchgylchu a ddefnyddiwyd ar gyfer gwallt y madame yn rhy flewog a gwyllt. Neu fel y dywed Penny: “Mae hi'n edrych fel ei bod hi wedi cael sioc drydanol! Felly rydw i'n mynd i ychwanegu gwlân merino mân i'w ddofi a'i siapio.”

I greu’r manylion mwy manwl - yn enwedig wynebau - mae'n well gan Penny beintio'n uniongyrchol ar y cynfas: “Gall wynebau brodio fod â gormod o wead, ond gyda phaent, gallaf gael mwy o reolaeth dros y manylion bach hyn. Hefyd, dwi wrth fy modd gyda’r cyfuniad o gael paent a phwyth o fewn y cylch.”

Y tu hwnt i'r brodwaith mae Penny hefyd wedi bod yn brysur yn cael ei ffilmio gartref ar gyfer y fideo prosiect cyntaf gan Tiny House Creatives, a fydd yn cynnig cipolwg ar ei bywyd fel artist ag anableddau. Mae ail fideo sy'n archwilio ei chelf brodwaith bellach wrthi’n cael ei greu.

A pheidiwch ag anghofio dilyn Penny ar Instagram a TikTok @pennytristram am fwy o ddiweddariadau prosiect!

Old Mistress: Challenges and techniques in painterly embroidery

Halfway into the Old Mistress project, Penny is deep in the creative phase and busy with her embroidery. She has chosen to work on all of the initial pieces concurrently, as this makes it easier to get ‘peer reviews’ from fellow artists as she goes along.

Artists who have reviewed Penny’s work and offered constructive feedback and suggestions include Wesh textile artist Judith Musker Turner, who has been a mentor and collaborator for some time. Penny has also received support from one of her biggest influences, Victoria Rose Richards, a pioneer of landscape embroidery who talks openly about the intersections of her autism and her art; and long-time creative peer and supporter Fin McAllister.

Detail of Berthe Morisot’s Summer’s Day (1879), and Penny’s in-progress rendition.

Describing the creative process, Penny feels she is emerging from the ‘messy middle’ - a period of challenges that have provided a steep learning curve and tested her confidence. These include extending the project deadlines to accommodate illness, finding technical solutions to problems with materials, and overcoming self-doubt in the midst of making Berthe Morisot’s ‘Summer’s Day’ - a large embroidery requiring thousands of stitches to create. “This one is definitely pushing me out of my comfort zone”, she explains. 

For the majority of this work, Penny uses a combination of long and short stitch and satin stitch to build up her images. This simple repertoire allows her to practice freestyle embroidery and create a painterly effect with the thread; long and short stitches in particular enabling her to blend colours, imitating the way a painter might on canvas.

Penny has also been experimenting with new approaches, including learning a new technique called ‘couching’ (a suggestion of Judith’s). Here, thick threads are layered in patterns, and then stitched into place - perfect for creating the vivid swirling skies of Edvard Munch’s ‘The Scream’ (1983), shown below. Penny experimented with using plastic thread from old fishing ropes found at the beach and found their stiff texture ideal for this piece.

In her embroidery of Adélaide Labille-Guiard’s ‘Madame Victoire’ (1787), Penny found that the upcycled acrylic yarn used for the madame’s hair was too fluffy and wild. Or as Penny puts it: “She looks like she’s had an electric shock! So I’m going to add fine merino wool to tame and shape it.”

For the finer details - particularly faces - Penny prefers to paint directly onto the canvas: “Embroidered faces can end up with too much texture, whereas with paint, I can have more control over these tiny details. Plus I just love the combination of having both paint and stitch within the hoop.”

Beyond the embroidery Penny has also been busy being filmed at home for the first project video from Tiny House Creatives, which will offer a peek into her life as an artist with disabilities. A second video that explores her embroidery art is now in the works.

Don’t forget to follow Penny on Instagram and TikTok @pennytristram for more project updates!

YR HEN FIESTRES: Ailddychmygu paentiadau clasurol, fesul pwyth

gan Beth Maiden

Yn ystod cyfnod clo 2020, denodd dehongliad brodwaith Penny Tristram o ddarlun Van Gogh, ‘Wheat Field with Cypresses’, ymateb ffafriol dros ben. Fe’i hanogwyd i greu mwy, ac aeth ati nesaf i greu teyrnged wedi’i phwytho â llaw i ‘The Swing’ gan Jean-Honoré Fragonard. Bellach, gyda chyllid gan Gyngor Celfyddydau Cymru, mae hi’n datblygu’r prosiect yn gyfres lawn. Gyda thîm bychan i’w helpu, bydd Penny yn lansio Yr Hen Fiestres y mis hwn: cyfres o ddeg o baentiadau gwych o’r cyfnod cyn yr ugeinfed ganrif, a’r rheini wedi’u hailddychmygu drwy edau a nodwydd.

“Old Mistress yw fy nghyfle i ddehongli hen baentiadau hyfryd ymhellach. Rwy’n teimlo’n gyffrous yn cael y cyfle hwn. Heb gefnogaeth Cyngor Celfyddydau Cymru a thîm creadigol tan gamp, mae’n debygol mai syniad rhwystredig heb ei wireddu fyddai’r gyfres hon, yn hytrach na rhywbeth sy’n dod yn real drwy bwythau.”

Yn ogystal â rhoi gofod gwerthfawr i ddatblygu sgiliau Penny fel artist tecstiliau, mae Old Mistress yn ymarfer mewn dull adolygiadol o edrych ar hanes. Yn hytrach na brodio gweithiau’r ‘hen feistri’ enwocaf yn unig (sydd wedi’u peintio bron yn llwyr gan ddynion gwyn), trodd Penny ei sylw at rai o fenywod ac artistiaid duon gorau’r cyfnod. Bydd straeon y rhain yn llai cyfarwydd o lawer i’r rhan fwyaf o bobl.

The Westwood Children, tua 1807, Joshua Johnson

Er enghraifft, magwyd Joshua Johnson (UDA, tua 1763 – tua 1821) yn gaethwas heb y gallu i fanteisio ar yr addysg, y deunyddiau na’r rhwyd ddiogelwch yr oedd y rhan fwyaf o egin artistiaid yn dibynnu arnyn nhw. Pan gafodd ei ryddid yn 19 oed, bwriodd Johnson ati fel arlunydd portreadau llawrydd, hunanddysgedig, gan symud yn gyson i ddilyn ei gwsmeriaid cyfoethog o amgylch yr Unol Daleithiau. Fe baentiai mewn arddull ‘naïf’ unigryw, a oedd yn anarferol yn y cyfnod. Er gwaethaf y rhwystrau aruthrol a wynebai, fe’i hystyrir fel yr Americanwr Du cyntaf i feithrin gyrfa lwyddiannus fel artist, er mai prin yw’r wybodaeth am ei fywyd rhyfeddol, a hynny’n sicr oherwydd ei hil a’i ddosbarth.

Ar y llaw arall, ganwyd Berthe Morisot (Ffrainc, 1841–1895) i deulu cyfoethog a oedd â chysylltiadau da. Fe’i haddysgwyd yn y celfyddydau, ac aeth yn ei blaen i ddod yn arlunydd mawr ei bri. Er gwaethaf ei henwogrwydd, wynebodd ragfarn ar sail rhyw, gan gwyno yn ei dyddiadur nad oedd pobl yn ei chymryd o ddifrif fel artist o’i chymharu â’i chyfoedion gwrywaidd. Disgrifiwyd ei darluniau fel rhai’n ‘llawn o gyfaredd benywaidd’, a’i defnydd arbrofol o frwshwaith a lliwiau’n cael ei ystyried yn ‘ysgafn’.

Woman at her Toilette, 1875, Berthe Morisot

Drwy ddewis ail-greu a rhoi lle canolog i waith artistiaid y cyrion ochr yn ochr â’r ‘hen feistri’ mwy enwog, mae Penny’n cyfrannu at ailadrodd hanes celfyddyd gan herio a datod y naratifau trefedigaethol a phatriarchaidd a ledaenir yn gyffredin, yn enwedig ynghylch pwy rydyn ni’n eu cydnabod yn artistiaid ‘mawr’. Fel yr eglura Penny, “fe gafodd yr artistiaid rwy’n eu dewis lwyddiant yn ystod eu hoes, a chael eu cydnabod am eu gwaith, felly mae’r gyfres yn herio’r cysyniad nad oedd artistiaid benywaidd nac artistiaid croenliw llwyddiannus yn y cyfnodau hyn, gan helpu gyda’r diffyg dealltwriaeth gymharol ohonyn nhw”.

Mae’r prosiect hefyd yn niwlio’r ffin rhwng ‘celfyddyd’ a ‘chrefft’ – ystyrid y cyntaf o’r rhain yn rhywbeth aruchel a berthynai i bobl gyfoethog yn unig, a’r ail yn rhywbeth a wneid fel llafur domestig neu fasnachol, sef creadigaethau menywod a phobl ddosbarth gweithiol, gan amlaf. Mae brodwaith cylchoedd ac edau Penny yn adleisio cyfrwng artistiaid menywod a oedd yn gaeth i ofodau domestig dros y canrifoedd. Drwy ddefnyddio gleiniau a wnaed o sbwriel traethau, a hen gynfasau gwely i greu canfas, dyna gydnabod dyfeisgarwch artistiaid nad oedd â theuluoedd a noddwyr cyfoethog yn gefn iddyn nhw.

A hithau’n artist anabl a niwroamrywiol, mae Penny yn falch o gael y cyfle i gael tâl go lew am waith sy’n araf ac yn llafurus, a chyfle i roi lle i’r gwaith hwnnw anadlu. Ond eto, mae’n waith y gall hi ei wneud gartref, wrth ei phwysau’i hun. “Fe ddes i at frodwaith ar ôl chwilio am gyfryngau a fyddai’n fy ngalluogi i weithio wrth orwedd neu wrth sefyll, yn hytrach nag wrth eistedd wrth ddesg yn unig, gan na alla’ i wneud hynny am gyfnodau hir” meddai

Stiwdio Penny ym Machynlleth, yn y canolbarth.

Penny gartref

Bydd Yr Hen Fiestres yn cyflwyno deg o baentiadau gan amryw o artistiaid, gyda phump o’r rhain yn cael eu cwblhau yr hydref hwn. Yn yr wythnosau cyntaf hyn, mae gwaith Penny’n canolbwyntio ar ymchwil a datblygu – mae hyn yn cynnwys creu rhestr fer o artistiaid a gweithiau posibl, gan ddod o hyd i elfennau cyffredin a chydlynol rhwng paentiadau, ac ymgynghori ag artistiaid eraill am sut y gellid adrodd eu straeon. Ochr yn ochr â hyn, mae hi eisoes wedi dechrau gwaith ar y brodweithiau eu hunain.

Dewch yn ôl fis nesaf i gael diweddariad am y prosiect a chipolwg ar y brodweithiau sydd ar y gweill! A pheidiwch ag anghofio dilyn Penny ar ei thudalennau ar Instagram @pennytristram a TikTok @pennytristram.

Old Mistress: Reimagining classical paintings, one stitch at a time

by Beth Maiden

Why bilingual?

If you’re reading this from outside the UK you may not recognise the Welsh language, but it is a core part of everyday life here in mid-Wales where Penny has made her home and sources most of her materials. Ultimately this project is about hearing voices that have been marginalised or misunderstood, and as such the language of this land - with its own history of colonisation - will be proudly shared.

When Penny Tristram’s embroidered rendition of Van Gogh’s ‘Wheat Field with Cypresses’ received a glowing response during 2020’s lockdown, she was encouraged to create more, next creating a hand-stitched homage to Jean-Honoré Fragonard’s ‘The Swing’. Now, with funding from Arts Council of Wales, she is developing the project into a full series. Along with a small team, Penny is this month launching Old Mistress: a series of ten great pre-20th century paintings reimagined with needle and thread.

“Old Mistress is my chance to make further interpretations of lovely old paintings. I'm excited about this opportunity as without the support of the Arts Council of Wales and a wonderful creative team, this series would likely have remained a frustrated idea rather than being stitched into reality.”

As well as offering a valuable space for developing Penny’s skills as a textile artist, Old Mistress is an exercise in historic revisionism. Rather than embroidering only the most famous ‘old masters’ (almost exclusively painted by white men) she turned her attention to some of the great women and black artists of the period, whose stories will be far less familiar to most.

The Westwood Children, c. 1807, Joshua Johnson

For example, Joshua Johnson (US, c.1763–c.1821) grew up in slavery without easy access to the education, materials or safety net relied on by most budding artists. Upon receiving his freedom at the age of 19, Johnson set up as a self-taught freelance portrait painter, moving frequently to follow his wealthy customers around the US, and painting in a distinctive ‘naive’ style unusual for the period. Despite the immense obstacles he faced, he is considered the earliest Black American to have forged a successful career as an artist, though little is known about his fascinating life, undoubtedly due to his race and class.

By contrast Berthe Morisot (France, 1841–1895) was born into a wealthy, well-connected family and educated in the arts, and went on to become a much-celebrated painter. Despite the fame she achieved, she felt the impact of sexism, complaining in her diary that she was not taken seriously as an artist compared to her male peers. Her pictures were described as ‘full of feminine charm’, her experimental approach to brushwork and colour considered ‘light’. 

Woman at her Toilette, 1875, Berthe Morisot

By choosing to centre and recreate the works of marginalised artists alongside the more famous ‘old masters’, Penny contributes to a re-telling of art history that challenges and unpicks the colonial and patriarchal narratives we are commonly taught, particularly about who we recognise as ‘great’ artists. As Penny explains, “the artists I’m choosing did well in their lifetimes and were recognised for their work, so the series challenges the notion that there were no successful women artists or artists of colour back in the day, and addresses the current relatively low understanding of these artists.”

The project also blurs the lines between ‘art’ and ‘craft’ - the former considered the elevated preserve of the rich, the latter being something done for domestic or commercial labour; typically the creations of women and working class people. Penny’s embroidery hoop and thread echo the artistic medium of women confined to domestic spaces across the centuries. Her incorporation of beads created from beach litter and her use of old bedsheets as canvas recognise the resourcefulness of artists without the backing of wealthy families or patrons.

As a disabled and neurodiverse artist, Penny is glad of the opportunity to be decently paid and given breathing room for work that is slow and painstaking, yet can be done from home, on her own schedule. “I came to embroidery after looking for media that would allow me to work lying down, reclining or standing up, rather than just sitting at a desk, which I can't manage for extended periods” she says.

Penny’s studio in Machynlleth, mid-Wales

Penny at home

Old Mistress will feature ten great paintings by a range of artists - five of which will be completed this autumn. In these first weeks, Penny’s work is focused on researching and development of the project - this includes shortlisting possible artists and work, finding commonality and cohesion between paintings, and consulting with other artists about how their stories might be told. Alongside this, she has already begun work on the embroideries themselves.

Check back next month for an update on the project and a sneak peek at the embroideries in progress! And don’t forget to follow Penny on her Instagram page @pennytristram and on TikTok @pennytristram.

Old Mistress/Yr Hen Fiestres

OLD MISTRESS

Old Mistress reimagines a number of classical paintings as modern embroideries. The project explores how craft and disability work together, as well as interpreting the works of pre 20th Century black artists and women artists as part of a revisionist history approach. The project is funded by the Arts Council of Wales and has received support from Disability Arts Cymru and the associate artist at Oriel Davies. Watch this space and Instagram for updates.

YR HEN FEISTRES

Yr Hen Fiestres sy’n ailddychmygu nifer o baentiadau clasurol ar ffurf gwaith brodio modern. Mae’r prosiect yn edrych ar sut y mae crefft ac anabledd yn cyd-fynd â’i gilydd, yn ogystal â dehongli gweithiau artistiaid benywaidd ac artistiaid duon cyn yr ugeinfed ganrif fel rhan o ddull adolygiadol o edrych ar hanes. Cyngor Celfyddydau Cymru sy’n ariannu’r prosiect, ac mae wedi’i gefnogi hefyd gan Celfyddydau Anabledd Cymru a’r artist cyswllt yn Oriel Davies.