Carwyn Evans – PADER – CSAD -2017

After coming across Carwyn Evans installation down in the foyer space at CSAD and attending his in conversation I was fascinated by his ideas surrounding his personal memories of farm life and welsh identity. As an artist similarly interested in personal memory, identity and how these ideas are reappropriated into physical tactile form, it was fascinating listening to an artist with a similar background to myself. Coming from a rural village in the middle of Gloucestershire, working on a farm within the local area I could connect and understand ‘PADER’ on a subjective level and analyse the ‘details’ of the sculptural composition. It is funny that these objects have been reappropriated in such a manner as for myself there is a running joke amongst the farming communities that farmers hoard ‘anything and everything’ as everything even junk has some form of use at some point in the future, perhaps it seems even for contemporary art/sculpture.

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when up close and personal with the composition you begin to dissect the objects from one another, we begin to unassemble the reappropriated. For example, the way the wood is joint together or the folded trefoil sheet that is laid underneath. When up close and personal even the most minimal of details such as the wax on the sheet echo an ulterior autobiographical message – that of the artist himself, his identity and his farming background.We as the viewer begin to try and build a picture of the artist, who is he? what is he trying to say? – The site of memory seems to be incredibly important to the artist.

when approaching the light at the back, kneeling down and taking a closer look I noticed mud splashes on the right-hand side. This could have easily been removed, yet it is interesting how the artist decided to leave these marks; not lazily but purposely left I believe. the mud splashes appear to have been splashed there by a tractor or quad bike wheel that could have been struggling in the mud. The artist re-appropriates personal memory from objects he connects with from day to day, tackling memory as formless matter in which he denotes meaning to material and further form.

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