Ffynnon Gwenfaen
April 2019 (online only)
Hannah Lees
Catrin Menai
Gwyn Williams
Bethan Lloyd Worthington
Located on the remote island of Anglesey the medieval well of Saint Gwenfaen gawps over the Irish Sea. Said to heal ailments of the mind by the ceremonial act of tossing two pieces of quartz into its chamber, the ancient stones clad in hair like lichen invites its passerby’s to submerge and exit reborn.
Wishing to awaken its long slumber we invited four artists to offer their works to the site. Despite their individual points of origin, each work conglomerates into a single Golem like-body to revive or re-animate the tonic stashed in the lichen of Gwenfaen’s well.
Bethan Lloyd Worthington,
‘The smoke from the incense would envelop the mountain like a kind of supernatural fog (Hill Censer)’, 2017
Glazed porcelain, onglaze painting
Hannah Lees,
‘Chain Has Ran Thin’, 2018,
Onion skin dyed bedsheet tunic dress. Made in collaboration with Christina Lees
Gwyn Williams,
‘Trefn Dyddiol / Daily Routines’, 2019
Pewter, birch clay and miliput
Catrin Menai,
‘BEHIND THE STONES IV’, 2018,
Glass, coal, hair, text and tracing paper
Bethan Lloyd Worthington,
‘The smoke from the incense would envelop the mountain like a kind of supernatural fog (Hill Censer)’, 2017
Glazed porcelain, onglaze painting
Hannah Lees,
‘Chain Has Ran Thin’, 2018,
Onion skin dyed bedsheet tunic dress. Made in collaboration with Christina Lees
Gwyn Williams,
‘Trefn Dyddiol / Daily Routines’, 2019
Pewter, birch clay and miliput
Catrin Menai,
‘BEHIND THE STONES IV’, 2018,
Glass, coal, hair, text and tracing paper
Catrin Menai,
‘BEHIND THE STONES IV’, 2018,
Glass, coal, hair, text and tracing paper
Gwyn Williams,
‘Trefn Dyddiol / Daily Routines’, 2019
Pewter, birch clay and miliput
Hannah Lees with Bethan Lloyd Worthington
‘Chain Has Ran Thin’ with ‘The smoke from the incense would envelop the mountain like a kind of supernatural fog (Hill Censer)’
Catrin Menai,
‘BEHIND THE STONES IV’, 2018,
Glass, coal, hair, text and tracing paper
