I have recently been exploring ideas related to the home and memory, and how they form identity. I am interested in how to defy the imperative to follow a linear structure in personal narrative and instead look for a more honest depiction of memory, which is itself often unclear and fragmented, comprised of elements which are both real and constructed.
The combination of works chosen reflect the dualities of love and selfishness, of fantasy and rigidity. There is an inherent conflict between the works which creates a sort of confusion, similar to the conflicting emotions brought about through the continuous process of introspection, which adapts and shifts over time.
I felt drawn to examining the personal meanings associated with one’s own individual experiences and memories, but also the universal potential of those meanings. I want to portray personal memories and feelings in a way which is not overtly didactic. Depicting moments of intimacy in a way which infers rather than prescribes and leaving room for misunderstanding, was important to this body of work, which is comprised of elements which are removed from their context or obscured in some way.
Yn ddiweddar, rydw i wedi bod yn archwilio syniadau sy’n ymwneud â’r cartref a’r cof, a sut maen nhw’n ffurfio hunaniaeth. Mae gen i ddiddordeb mewn sut i herio’r rheidrwydd i ddilyn strwythur llinol mewn naratif personol ac yn lle hynny edrych am bortread mwy gonest o’r cof, sydd ynddo’i hun yn aml yn aneglur ac yn dameidiog, yn cynnwys elfennau sy’n real ac yn adeiladol.
Mae’r cyfuniad o weithiau a ddewiswyd yn adlewyrchu deuoliaeth cariad a hunanoldeb, ffantasi ac anhyblygedd. Mae gwrthdaro cynhenid rhwng y gweithiau sy’n creu rhyw fath o ddryswch, tebyg i’r emosiynau gwrthgyferbyniol a ddaw yn sgil y broses barhaus o fewnsylliad, sy’n addasu ac yn symud dros amser.
Roeddwn yn teimlo fy mod wedi fy nenu at archwilio’r ystyron personol sy’n gysylltiedig â’ch profiadau a’ch atgofion unigol eich hun, ond hefyd botensial cyffredinol yr ystyron hynny. Rwyf am bortreadu atgofion a theimladau personol mewn ffordd nad yw’n amlwg ddidactig. Roedd darlunio eiliadau o agosatrwydd mewn ffordd sy’n casglu rhywbeth o rywbeth yn hytrach na rhagnodi a gadael lle i gamddealltwriaeth, yn bwysig i’r corff hwn o waith, sy’n cynnwys elfennau sy’n cael eu tynnu o’u cyd-destun neu sy’n cael eu cuddio mewn rhyw ffordd.
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