Otherworld
04/10/2025 – 29/11/2025
Group Show
The visual acoustics of Sarah Medway’s mesmerising Siren Song resonate with the atmospheric layering in Making up for lost time by Sally Harrold. Listening to the music of William Basinski has inspired Anya Ward’s stunning memorial piece, Disintegration lll .
Combined with Approaching Storm by Hilary Reed, these abstractions create a diffused space, from where memories of childhood, recalled in Heather Eastes’ beautiful and troubling drawings, can emerge from the shores and boundaries of worlds. Red Dancers Flying by Aisha Plumridge reflect a childlike wonder in seeing visions of angels dancing and soaring high among the clouds.
In his Spectronic Series Ceri Pritchard explores the transformation of the self – a transition between consciousness and the uncharted worlds beyond.
The printing process itself, as a metaphor for the duality of reflection, informs the underwater world and surrounding text in Seaweed Atmosphere by Stuart Evans. Above this we see aquamarine in Zara Kuchi’s enigmatic portrait of a feral and ethereal child in Girl in a turquoise headscarf.
A preparation for the outside world is seen simply in Mike Waldron’s Mirror Image. Conversely, in the Sumerian Epic of Gilgamesh. Michael Mebane shows him arriving in the wilderness from civilisation, ready to be acquainted with the other side of nature and himself.
The re-imagining of a Greek tragedy, fused with the customs of India and reflecting our diverse world, has produced Deciding to leave by Prith B.
Gini Wade’s work depicts the iconic power of the animals that inhabit a symbolic landscape between our material world and the otherworld. Behold a Pale Horse, one of the four horses of the Apocalypse, responds to the terrible events occurring in our time.
Wendy Foulds black cat Solstice, a creature seen as both mystical and protective, and adorned with a crown of flowers, symbolises hope for renewal. In Where the stillness is, a portrait by Myfi Ellis of her life-long friend, we are invited into a quiet space where stillness and softness meet, offering a gentle pause from the noise of the world.
Breathe, by Suzanne Lanchbury, listens to the inner voice, allowing subconscious, spontaneous and fleeting thoughts to find form.
Instinctive drawing lies at the heart of Brigitte Bailey’s practice. In The Unknown Ones she is indebted to the magnitude of Cezanne’s The Large Bathers. Over time the work has evolved and changed, being allowed to happen through a process of transcription.
The Universe by Carmen Friedman embodies a balance between innocence and the wisdom of experience. Strength, another from her Tarot series, represents the inner courage to face adversity with a calm heart and gentle hand. Daisy & God. by Helen Duffee, searches for, and finds, a silver lining….
Christian Stamas
04/10/2025 – 29/11/2025
What I Found When I was Lost
Picasso once said, “I don’t know what I’m going to draw, until I start drawing.” Only recently has this point of view hit home for me, and it has become the foundation of my art making process. For me, it is all about the process – the process of discovery. And in order to get into discovery mode, I have to get lost.
I’ve spent much of my life feeling lost, afraid of the unknown, hesitant to take risks, stuck, and not making art. It took years before I had the courage to flip the script, to approach uncertainty with curiosity and a sense of adventure instead of fear.
Now, when I’m lost – when I’m sketching – my senses are alive. I see things as if for the first time, fully present in the experience, with my own implicit bias somehow in the back seat. One sketch leads into another, as shapes, forms, colours, and subtle connections emerge that might normally elude me. Mysteries and enigmas appear, moments of quiet wonder that pull me forward and invite exploration. Often a warm fog of feeling, a kind of cognitive residue, settles over me like lingering fragments of my self, as I wander hills and valleys, turning corners to see what awaits – pulling me toward architecture, nature, space, stillness, and moments of unexpected awe. I gather these experiences and bring them home to paint.
This exhibition is a collection of evidences and stories, a series of waypoints along the path of what I found when I was lost, so far in 2025.
Lauren Prosser
04/10/2025 – 29/11/2025
I create paintings as a direct response to my surroundings. This recent series has taken inspiration directly from my commutes to and from my workplace in Cardiff city centre. The imagery is pulled from views observed whilst in transit, and I seek to display urbanised Britain in its rawest form – choosing to paint scenes that may be recognisable to many and overlooked by most.
I have deliberately chosen to paint the ordinary and every-day, aiming to draw attention to things so often overlooked whilst in the hustle and bustle of day to day life. Through painting my surroundings I am enabled to look and see in more depth at the intricate details and patterns that make up an urban area, developing a higher level of respect and knowledge of a location. This practice also allows me to notice the subtle changes that occur over time.
By painting areas of busy traffic or construction zones, I am capturing a snapshot of an often seen location that will never look that way again.
Jake Quinlan
04/10/2025 – 29/11/2025
Strade Diverse
Strade Diverse marks the debut solo exhibition of contemporary Welsh artist Jake Quinlan, offering an evocative glimpse into his raw and dynamic visual language. Hailing from the industrial valley town of Merthyr Tydfil, Quinlan draws deeply from his working-class roots, using his art to confront and interpret the lived realities of the everyday labouring individual.
Quinlan’s paintings are distinctly gestural and expressive, characterized by bold brushwork and a visceral energy that reflects both the brutality and resilience of daily life. His compositions do not seek to idealize or romanticize, but instead to capture the emotional chaos, grit, and confusion that often define the modern working-class experience. With a practice grounded in authenticity and urgency, Quinlan invites viewers into a world that is as confronting as it is compelling – imbued with both struggle and strength.
This inaugural solo show represents a significant milestone in the artist’s career, offering a powerful and unfiltered commentary on identity, environment, and endurance through the lens of contemporary expressionism.
“Powerful with deep meaning, pending on each person’s psychology and appreciation of ongoing life.” – David Thomas, Amgueddfa Cymru, commenting on the Strade Diverse series.
SUMMER EXHIBITION!
23/08/2025 – 27/09/2025
Feast your Eyes! Paintings, Sculpture and Ceramics by 60 Artists from the 4 corners of Wales.
Y Grŵp Cymreig / The Welsh Group
05/07/2025 – 16/08/2025
WEST
A vibrant and eclectic exhibition of work from all across Wales, brought together by 30 members of The Welsh Group. The group was originally founded in 1948 and continues to evolve and thrive.
As Gustavius Payne writes in the forward to the publication ‘The Welsh Group at 70’:
“The Group’s selection process is an ideal means to pin-point, organically, a true sense of what Welsh Art is. It is a genuine snapshot of the here and now, decided by the artists themselves, with no brief or prescribed agenda to express their Welshness.
The Welsh Group, and formally the South Wales Group, has been producing exhibitions for seventy years. What better place is there to understand what Welsh Art truly is?
Atrium - Tanya Ransom
31/05/25 – 28/06/25
The Female conquests and narratives revealed…
We all have desires and fantasies. We all posses a hidden naughtiness: passionate and sexual needs are within you, attracting daydreams and unconscious pleasures. The need to emulate modernist icons of beauty in pursuit of the feminine ideal is a direct reaction to the needs of sexual partners. This desire is proclaimed within these studies of the imagined environments and situations we might find ourselves in as females.
The prominence of this sexual female derives from the need to be her, and to understand her.
My process and materials used are important to the work, experimentation and play encapsulate a sense of erotic voyeurism.
Memories and emotions of a time past….
I visited Estonia on a work exchange in the summer of 2005: and whilst there I realised that I wanted to document the faces of local people that I passed in the street each day, to depict their expressions of struggle and response to me as an outsider, a ‘tourist’ looking in.
Their wrinkled and tension-filled faces intrigued me. I felt that I was almost able to look into their characters, ignoring all their physical flaws. Through my painting and the photos I took during my visit, I have tried to recapture the way I responded to them and the emotions I sensed they were feeling at the time.
Snapshot photography captured time and tension, suspense and atmosphere. It has fed and focused my memories of specific situations and details. I felt that by painting the scene I could relive the time and give physical form to my experience.
My process of working has involved a transition from loose mixed media drawings that became triggers for larger paintings. In the more detailed scaled-up images I have used layered line and fractured mark-making to echo the difficulty I experienced whilst attempting to pin down memory and reflect on all the complex characters I had encountered. I have worked in an erratic, expressionistic style using heavy brushstrokes and colours that evoke my memories of Estonia.
ORIEL 2 - Group Show: Bloom & Blodau
31/05/25 – 28/06/25
Sally Harrold’s paintings respond to changing seasons in these large, semi-abstract pieces inspired by overgrown ponds and woodland. This habitat surrounds the studio at her smallholding at Cil-y-cwm, Carmarthenshire.
Vibrant Spring colours, dappled light and a gentle breeze, joyfully celebrate the wildness of Hilary Reed’s garden.
This sense of place is central to the work of Joanna Jones’‘O Fynydd y Baran’, a familiar landscape near her home, evoking nostalgia and a dreamlike quality. ‘Thrift’ is a place of solace and contemplation.
A profusion of blossom feels all-encompassing in Menna Angharad’s ‘White Azalea,’ while a little patch of unmown meadow is a tangle of wild flowers and grasses, grown in tranquillity and sunshine.
Through Katie Allen’s colour harmonies, intricate designs and abstract patterns, the viewer is invited to explore – revealing an orchestrated whole.
A strong design approach to the classic genre of Still Life, seen here as flowers in a vase, informs the work of Aerwen Griffiths. Sian Love’s response to this subject, with her dark backgrounds, references the Dutch masters – and similarly, Helen Duffee’s re-working of the tulip paintings of Jan Franz van Dael also reflect this tradition – with a twist.
Debbie Rose Miller’s bold series ‘Florals beget Florals’ uses camouflage to create a hidden garden of discovery, where her passion for pattern and fashion meet.
Beautiful textile pieces by Iryna Kolpakova use the language of flowers. In her ‘Self Portrait’ her soul and roots are expressed as the Sunflower of Ukraine, and her immersion within the local traditions of her new home, as the Daffodil of Wales.
John Roger Bradley’s piece, ‘Emerging’ focuses on Spring buds in groups or clusters, striving to emerge as new life.
The visual and metaphysical poetry surrounding the birth of Blodeuwedd has inspired Zara Kuchi to paint several renditions of this captivating being from the Mabinogion. This version is modelled on a half-Welsh, half-French girl who encapsulates the mystery of Blodeuwedd.
As in the original story, Tatiana Churlinia’s Blodeuwedd is made from the Welsh landscape, using broom, oak and meadowsweet, and uncarded wool from Llanon. She wears upcycled fabrics and jewellery, gleaned from her local environment.
Julian Ruddock’s paintings celebrate the incredible brightness of yellow gorse flowers, often set against grey Welsh skies. Nowadays this plant is a vital wildlife habitat for a multitude of species. It was valued in the past as fodder for cattle, fuel for the fire and for dying wool the most beautiful warm shade of yellow.
In ‘Dandelion’, Nikki Pontin shines a light on this often overlooked species. It was used for centuries for its medicinal and nutritional benefits, and in this artwork Nikki challenges its categorisation as a weed.
The ubiquitous Daisy, the name derived from being the ‘day’s eye’ – opening in the morning and closing for sleep at dusk – is immortalised here in the beautiful Carrara marble of Jeremy Stiff’s sculpture.
ORIEL 2 - Group Show: 'Who let the dogs out?'
12/04/25 – 28/05/25
O’r rhai lled wyllt i’r ffyddlon rai, bydd pob ci yn yr arddangosfa hon yn cael ei awr fawr!
Gwelir toreth o gŵn yma, naill ai’n rhuthro ar draws y cynfas, neu’n eistedd yn osgeiddig, weithiau’n cael cyntun neu’n udo ar y nen o stondin yn yr awyragored.
Hen gŵn a chŵn bach ifainc, rhai del a rhai doniol, a chyfaill pennaf pob merch.
Mae yma gŵn drwg a chŵn da, ci tarw yn chwarae cardiau, peth bach annwyl o’r enw Milo, a’r ci na ellid cynnal y sioe hon hebddo – Gelert.
Cyfuniad detholiadol cyffrous, wedi’i guradu o blith gwaith 12 artist creadigol sy’n cynhyrchu celf gyfoes yma yng Nhymru.
From the feral to the loyal, every dog in this show will have his day!
Hounds abound here, either tearing across the canvas, or elegantly seated, sometimes having a snooze or baying at the sky from an outdoor plinth.
We have old dogs and pups, cute dogs and funny dogs and a girl’s best friend.
There are bad dogs and good dogs, Bullies playing poker and a sweetie named Milo, and he without whom this show would not be complete – Gelert
An eclectic mix of exciting work, curated from amongst 12 creative practitioners producing contemporary art here in Wales.
ORIEL 1 - Julia Griffiths Jones
12/04/25 – 28/06/25
I am delighted to be showing my recent work for the second time at Gallery Gwyn, particularly as I was brought up in Aberaeron and lived here from 1960 – 1972.
I visited Amsterdam in 2022 and while travelling on the Metro, I came across an extraordinary exhibition. It was of 71,000 fragments and shards which had been collected from the River Amstel. They were grouped and arranged to fit in between the escalators as you descended to the platform at Rokin station.
The project is called Below the Surface, the Archaeological finds of the North / South Line, and is well worth a look.
A lot of my work references the domestic object. I draw jugs, jars and spoons whenever I see them in museum collections, and here I have selected the ones I think work well together for my small metal shelves. Each jug is made of vitreous enamel and has been waterjet cut, printed with the shard imagery and cured in the kiln.
In 2025, I am hoping to develop the conversation using motifs from embroidery, cloth, lace or carved in wood. The piece entitled Joy is my first attempt to enlarge, and to combine my work in coloured sheet metal and printed enamel.
ORIEL 1 - Sarah Khan
08/02/25 – 05/04/25
In her most recent series of works, titled ‘Life Through Layers’, Sarah Khan explores the complexity of both happiness and emptiness, of healing and moving-on, and the trauma from the past and present. She expresses her inner world through creating a colourscape of unidentified forms, allowing the layering of textures and depth to reveal the process. Her work is immediate, abstract and expressive and focuses on the healing process of creativity.
ORIEL 2 - Gaia 24
30/11/24 – 25/01/25
Group statement
Gaia theory, named after the primordial deity in Greek mythology, hypothesises that life will ensure its own persistence, through the processes of Evolution, Extinction and Ecology.
Rebecca Wyn Kelly’s text piece reflects on the enduring spirit of adaptation – a meditation on resilience, loss and the quiet power of change.
Responding to our climate of austerity, Peter Finnemore’s modest, fragmentary artworks evoke the dreaming and creative self’s relationship to the interconnectivity of culture, nature and politics.
Focusing on the political, Dan Jones’ construction highlights the balance between the conflicting needs of our technosphere, and the environmental price that must be paid for that.
Bronwen Gwillim’s concern about micro-plastics and plastic-based paints in the ocean is referenced in her use of hyper-local beach-waste and foraged earth pigments. Her compositions also reflect the instant thrill of finding bright, saturated colour on the beach.
Location is at the core of Catrin Webster’s ‘Taliesin’ watercolours, which explore repeated returns to this particular place along the Dovey estuary and Borth bog, over a period of decades. Written into mythology, the story of this place, whilst it extends back in time, also speaks to the present and the future.
Creatures found within Welsh mythology inhabit Dottie-may Aston’s paintings, and merge with contemporary narratives formed though the artist’s immersion into the Welsh landscapes of Anglesey.
As a relative newcomer, and in his body of work ‘Witnessing Wales’ Mohamad Hassan became captivated by Wales’ rich artistic culture and language, steeped in ancient folklore and song. When he arrived he has said that he felt that he was in a dream, and has continued to find inspiration in the rugged landscape that surrounds him.
Miranda Whall’s data clouds delve deep into the upland landscape of the Elenydd plateau in the Cambrian Mountains. Her work meticulously documents temperature and moisture levels, generated through a sensor network 600m above sea level, and recorded over hundreds of hours. This data, inscribed and layered in ink on paper, accumulates to resemble an organic living presence.
The use of maps in Helen Duffee’s work provides a bird’s-eye view of the land, describing its topography and inherent natural systems. Our domestic landscape is referenced here through the use of supermarket food packaging, combining with the maps to form an inside/outside dialectic, exploring ideas of convenience and consumption.
Ceri Pritchard’s ‘Demeter’, as the Greek goddess of the harvest, reminds us of our dependence on mother Earth – whilst Sarah Jones’ spiritual painting re-connects us to the ocean from whence we came.
ORIEL 1 - Nicky Arscott
3/11/24 – 25/01/24
A new series of works, based around plants and animals, exploring interconnectivity and belonging.
ORIEL 3 – Suzanne Harris ‘IDIOM’
ATRIUM – Brigitte Bailey ‘SWIMMERS’
ORIEL 2 – Group Show GAIA 24 MohamedHassan, Dottie-may Aston, Peter Finnemeore, Rebecca Wyn Kelly, Catrin Webster, Miranda Whall, Bronwen, Ceri Pritchard, Bronwen Gwillim, Helen Duffee, Daniel Jones, Sarah Ward.
INTER_CHANGE
12/10/24 – 07/12/24
Six solo shows by artists from underrepresented demographic groups:
Caitlin Flood-Molyneux: “Going Away in order to Return”
Harry Heuser: “Retroactive Selfies”
Prith B: “How Life Is”
Zara Evans: “Encounters”
Jasmine Violet: A collection of current and past works
Francesca Lawrence: Collaged Jar-Lid Magnets
SUMMER EXHIBITION
10/08/24 – 05/10/24
Gallery Gwyn showcases talented artists from all corners of Wales in this bumper exhibition of 108 artworks by 50 different artists. An exciting and eclectic mix, and a show not to be missed.
Harry Heuser
08/06/24 – 02/08/24
Asphalt Expressionism
In 1961 sculptor and installation artist Claes Oldenburg declared: ‘I am for the art of scratchings in the Asphalt,’ of ‘ice cream cones dropped on the concrete.’
Where is that art if not on the pavements on which we tread?
The photographs in this exhibition were snapped in New York City between 21st and September and 26th October 2022. A smartphone camera enabled me readily to capture what caught my attention.
Tom Alabama
08/06/24 – 02/08/24
Datganiad yr Artist
Mae Tom Dauncey yn genfigennus. Tom Alabama yw’r dawnsiwr. Feliy pwy ddiawch yw Tom Alabama? (Teimlaf fod hyn yn esbonio mwy am fy ngwaith nag y byddai datganiad artist nodweddiadol)
Artist statement
Tom Dauncey is jealous. Tom Alabama is the dancer. So who the hell is Tom Alabama? (I feel that this explains more about my work than a typical artist statement would)
Glenn Ibbitson
08/06/24 – 02/08/24
Artist statement
Death of Richthofen is not simply a commemoration a Great War flying ace, nor an acknowledgement of those Australian forces on the ground below him who brought his killing spree to an end. Rather, it is a tribute to my father, who devoted much of his precious free time to entertaining his son and his schoolmates. Football in the park, basic carpentry and making scale model aircraft together.
David Kilvington
05/04/24 – 01/06/24
Artist statement
I’m much taken with the transitory nature of everything, and yet we have our idea of security built on solidity. I’ve always embraced change and reinvention.
Due to circumstances, I’ve had to spend the last couple of years travelling, and so there hasn’t been much time for painting. This has been a good thing as it has given me the opportunity to adjust and to develop.
This series of works represents the changing landscapes of the last few years, through which I have journeyed.
I Fyny
02/02/24 – 29/03/24
Wales is rich with creative talent and the aim of Oriel Myrddin’s I Fyny programme has been to help cultivate this and to offer direction to those making their way through the, at times, hard going struggles that being an artist present.
The following exhibitors are just a small sample of the extraordinary group of early career artists that took part in I Fyny. Within their practice, they explore broad ranging themes of belonging, a sense of place, nostalgia, climate emergency, female empowerment, and the beauty of the commonplace.
OM would like to extend their heartfelt thanks to all our I Fyny associates, in particular those that are exhibiting here, and to Gallery Gwyn for their generosity, patience, and support.
Lola Chapman
02/02/24 – 29/03/24
Lola Is a West Wales based artist and is inspired by the native landscapes. Her work is not a pictorial image of a location, but rather a capturing of the atmosphere and essence of the place made physical. The work comes from a spontaneous reaction to the environment and a natural instinct that forms itself into fluid brushstrokes and marks. The painting evokes a feeling of expansiveness with no limits, and through an often unplanned process, the work develops and reveals itself
David & Lisa Hardy
08/12/23 – 26/01/24
David and Lisa met whilst studying at Winchester School of Art in 1995.
Lisa’s work explores the ethereal beauty of flowers through abstract botanical paintings. Working with exposing layers of paint, Lisa incorporates a muted colour palette to reveal organic compositions with a lightness of touch.
“Working in acrylic and watercolour, my work reflects my mood and feelings. I abstract the essence of what I feel and see, as my life and the seasons change my paintings change too.”
David’s work explores the relationship of painting with the intangible boundaries of thoughts and emotions. Inspired by the natural world, these atmospheric compositions aim to evoke a sense of being, engulfed in an emotional landscape. The paintings allow the viewer to be captivated and comforted, portraying an emotional state which cannot be confined to words.
Who Are We Now?
6/10/23 – 02/12/23
A project to commemorate the 30 years since the passing of artist George Chapman and his contribution to Welsh art. Curated by his granddaughter Natalie Chapman, this show is a celebration of the old and the new. Siblings Natalie & Rory Chapman have revisited the old haunts of their grandfather, and recorded the changes in the communities and their landscape. This has resulted in some response work by the pair, shown alongside the historic paintings made by their grandfather. The new Rhondda is in parts very different from the one experienced by George Chapman. Businesses are built on nail salons and barbers in diverse multicultural communities, set within the dark and brooding backdrop of the land that gave George Chapman his voice in painting.
Isaac Peat
04/08/23 – 30/09/23
As we embark on our worldly journeys, light becomes our constant companion, casting its glow upon our path. However, this project takes a daring departure by embracing the absence of light. In the solitude of my photographic pursuit, I assume the role of a creator, shaping the world with light as my brush. Within each frame, I make deliberate choices, emphasising certain elements while omitting others, offering a distinct and alternative perspective of the world.
These images, in their own unique way, become a self-portrait, capturing not my physical form, but the essence of my presence as it weaves through the passage of time. Though I am invisible, the light that accompanies me is immortalised by the opening and closing of my camera’s shutter, forever preserved within each photograph.
Tides & Currents
08/12/23 – 26/01/24
The paintings of Jude Westermann and Natasha Francois, and the photographic images of Zara Evans, explore themes centred on the idea of home – what remains constant through disruptions of time and place and how the interior world of the domestic space mirrors our cultural identity.The intimate and contemplative process of sewing allow the stitched portraits of Becca Noble to reflect the traces of life lived, and for the organic forms and colours of nature to inform the textile work of Lauren Ricketts and Natasha Fox-Maderson. The mundane ephemera of daily life chanced upon by Szymon Morris provide a constant source of material for his sculptural pieces. ‘By Chance’, a large scale mixed media work by Gee Kerr, also responds to the discarded, highlighting the transience seen in the graphics and logos of packaging.In her video piece, Ffion Morgan questions the reliability of memory through distorting and fragmenting a home movie made in her childhood, whilst the chiaroscuro photographic style of Peter Alick’s images reflect both the darkness of depression, as well as the light of hope in our challenging world.
Tom Alabama
02/06/23 – 29/07/23
‘For me to touch is to ruin’ is a painting series that encapsulates everything i feel at that particular time, where each individual piece in the series is interconnected through recurring visual motifs, serving as metaphors. I fuse feelings of guilt and confusion by painting self-portraits that scrutinise my own physical body. These paintings offer a glimpse into my own experience, self-perception, and aspirations.
Works on paper
02/06/23 – 29/07/23
Group show
An eclectic mix of processes, materials and imagery brings together the work of 8 artists in this vibrant exhibition. From the traditional techniques of collograph, embossing and gold leaf to the contemporary use of collage and paint . To feature Julia Griffiths Jones, Marian Haf, Hannah McQueen, Tony Styles, Natalie Chapman, Helen Duffee and Francesca Lawrence.
Angharad Taris
02/06/23 – 29/07/23
My work is a response to the place in which I live : the west coast of Wales. Born and raised on a farm, I developed an intimate relationship with my environment and a deep connection to the spirit of the place. I am positioned on the edge of landscape, where land merges with sea and sky. My paintings do not set out to be precise representations: they are internal and elicited by the painting process.