by Glynn Vivian Art Gallery - On Air
An archive of Glynn Vivian Art Gallery talks, interviews, guides and music, ranging from historical to contemporary subjects, led by artists, curators, educators and historians. Glynn Vivian Art Gallery is is part of the City & County of Swansea and is supported by the Arts Council of Wales and through grant aid from CyMAL.
Language
🇺🇲
Publishing Since
2/26/2015
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June 11, 2026
Last Supper is a film by David Cushway, made in 2012, duration 33 minutes 50 seconds. This film tests the boundaries of ceramic practice and discourse. Thirteen volunteers sit at a long rectangular table with a white tablecloth on the mezzanine of the Glynn Vivian’s grand atrium space. Behind them is the building’s imposing Edwardian Baroque style architecture. Covering the walls either side of participants are glass vitrines filled with the vast ceramics collection. It is the architecture that reminded Cushway of The Last Supper painting by Leonardo da Vinci, which depicts the last supper of Jesus and his twelve apostles, inspiring him to directly reference this in the positioning of participants throughout the film. Each volunteer takes it in turn to hold and talk about a ceramic object that they selected from the Glynn Vivian’s permanent collection. In doing so, Cushway addresses the ‘touch taboo’ within the museum context and thus within the film we witness the participants’ intimate experience with their chosen object, an experience that would normally be off limits. This is highlighted through the juxtaposition of the ceramics collection in the background stored safely behind glass; protected, removed and unavailable for any tactile inspection or experience. In order to reveal alternative narratives and observations about the objects and to culturally embed the work within its location, no direction was given to the volunteers on what to say about their chosen objects and their reasons for selecting them. The noise of the standard working day continues in the background of the film- telephones ringing, doors banging, someone whistling and general chatter. Of the work, David Cushway said: “This body of creative practice illustrates the development of my aims to provide a model of engagement with the ceramic object and museum collection; one that critiques museum and curatorial practice, whilst fulfilling the criteria of new models of practice developed within the post-disciplinary, post-studio arena where clay and ceramic have no physical presence. “The intimate experience that is afforded by touch is explicitly demonstrated within the film, and sheer joy and excitement of the experience is communicated, not only within the dialogue of the participants but through their actions and reactions to their selected objects. This invigorating emotional display reanimates the objects and thus engages the museum’s audience in new and significant ways; a process that develops new knowledge and experience, not only in terms of the participant, but also within the institution itself.” David Cushway’s work is underpinned by a fascination with clay as a medium; the history of clay use is the history of humanity; it is the material that binds us to the earth that we inhabit. His practice operates in the arenas between art and craft and is often a direct comment upon the difference and indeed common ground between the two.
June 11, 2026
Ffilm 1 funud a 41 eiliad o hyd gan Peter Finnemore a wnaed yn 2005 yw Armageddon. Mae’r ffilm yn dechrau gyda hisian, wrth i dân gwyllt ffrwydro y tu mewn i dŷ gwydr gardd gartref a gynhelir gan ffrâm fetel arian ryw noson tua diwedd yr haf. Mae mwg yn llenwi’r lle ac yn dianc drwy’r fynedfa i’r awyr dywyll wrth i’r tân gwyllt barhau i saethu llwybrau tanllyd euraidd i fyny tuag at do’r tŷ gwydr. Mae pigiadau euraidd yn addurno’r lle rhwng clystyrau o ffrwydradau euraidd sy’n fflachio, nes i’r hadau euraidd olaf ddisgyn i’r tir sydd wedi’i orchuddio gan bilenni chwyn du, wrth i raeadr o fwg barhau i ddeillio o’r tŷ gwydr. Dangoswyd y ffilm am y tro cyntaf yng ngosodwaith tair sgrîn penodol i’r safle Peter Finnemore yn Biennale Fenis yn 2005. Mae’r gwaith yn rhan o’r gyfres Zen Gardener.
June 11, 2026
Come As You Really Are is a film by Hetain Patel, made in 2024, duration 12 minutes and 2 seconds. The film explores the outstanding creativity and passion that people put into their hobbies. Depicting a range of hobbies from across the country from freestyle dance to wild swimming, cosplay, gardening, miniature railways, radio-controlled airplane model making, felting, car modifiers, collecting, miniature pottery, miniature origami and nail art. Patel wanted to bring together these seemingly disparate hobbies and connect them visually through a non-linear cinematic narrative, using colour, texture and shape to connect by way of visual storytelling, with hobbies reappearing throughout the film. The shot of car wheels spinning, for example, transitions into a shot from above of a mini pottery wheel spinning; girls dancing and leaping into the air becomes planes in flight, reflecting the feeling of freedom in the air. There is also the physical connection of hobbies appearing together through handmade objects that toured around the country to each shooting location; miniature origami, pots, a Warhammer figure and felt rabbit. These created a sense of the unexpected, such as the scene of the miniature origami horse positioned on the knuckles of the car modifier holding his steering wheel. In their juxtaposition they create moments that could be seen as humorous or strange but reflect the reality of unexpected connection. The film adopts the artist’s trademark style of combining high-end cinematic production with scenes from the everyday, to showcase ephemeral pastimes and handcrafted objects in a visual language usually reserved for Hollywood films and luxury advertising. Hetain Patel devised the nationwide project Come As You Really Are with Artangel, which was made up of 13 regional presentations across England, Northern Ireland, Scotland, and Wales from Summer 2024 – 2027. Formerly known as ‘The Hobby Cave’ the project began with a nationwide call-out inviting members of the public to share the activity to which they dedicate their spare time. Within the nationwide presentations, standing shoulder to shoulder with handmade submissions by hobbyists were new and existing works by Patel. Come As You Really Are, 2024, the new film made for this project was the central part of the nationwide exhibitions, reflecting ephemeral pastimes that might not otherwise have been possible to represent. Somerset Road, 2024, a Ford Escort tufted by the artist in the pattern of his grandmother’s living room carpet, was also created for the exhibition. These time-consuming handmade objects directly echo the manual labour often carried out by migrant communities such as Patel’s family, while their hybridity points towards the new possibilities that emerge when we challenge and defy convention. Come As You Really Are presented a variety of hobbies that showcase an individual's freedom of expression and ingenuity, and in doing so broadens our perception of who gets to be called creative and where the impulse to create stems from. At the heart of this project is a nationwide community of people whose labours of love are a lens through which the artist presents an alternative portrait of the UK. Alongside Glynn Vivian, other partner organisations involved in the project were: Factory International, Manchester; Grundy Art Gallery, Blackpool; Museum of Making, Derby Museums Trust; National Festival of Making with Blackburn Museum & Art Gallery; Wolverhampton Art Gallery; Barnsley Civic; Inverness Museum and Art Gallery; Northern Gallery for Contemporary Art, Sunderland; CCA Derry~Londonderry; Hospitalfield, Arbroath and Tate St Ives.
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An archive of Glynn Vivian Art Gallery talks, interviews, guides and music, ranging from historical to contemporary subjects, led by artists, curators, educators and historians.
Glynn Vivian Art Gallery is is part of the City & County of Swansea and is supported by the Arts Council of Wales and through grant aid from CyMAL.
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