David Appleyard
completion date:


David Appleyard's brief was to research the history of Penderyn Square in relation to the Merthyr Rising and the Dic Penderyn story and to engage with local people to develop and test out ideas through temporary interventions. The commission had an extensive programme of consultation and engagement over a period of about 10 months. (https://www.celfwaith.co.uk/projects/merthyr-will-shine)

The design of the heart comes from Merthyr's famous iron bridge (now in storage) designed by Watkin George, Principle Engineer at Richard Crawshay's Cyfarthfa Ironworks. Designed in 1799, the parapet features two hearts in the middle of the bridge. The structure is part of the Dic Penderyn story, as eye witnesses claim they saw Dic Penderyn running from the back of the Castle Inn, through the streets, and over the iron bridge towards his home.

Artist's statement:
“The iron heart from the iron bridge provides the perfect metaphor for Merthyr Tydfil. It has a a direct link to the days of the iron masters, it was originally cast in Cyfarthfa Ironworks using iron made in Merthyr Tydfil, it has a personal connection to Dic Penderyn and it has weathered throughout the last 200 years of Merthyr’s history. It is still here. Above all, it should be viewed as a symbol of love and strength, two qualities which for me (a visitor), summarise the feelings I have developed towards this Welsh Valleys town. The angle of the heart is intended to suggest its defiance in being toppled. At various points in history Merthyr Tydfil’s heart could have been broken. This hasn't happened. I hope that the iron heart, leaning against a building in the civic heart of the town will act as a reminder to anyone doubting Merthyr Tydfil’s strength and its ability to re-imagine, re-develop and above all stand tall.”

To help interpret both the sculpture and the Dic Penderyn story, David commissioned the poet Gillian Clarke to write a bi-lingual poem. Set across two large sandstone slabs in front of the sculpture, the poem has been letter-cut by John Neilsen. The poem has three verses in English and concludes with a Welsh englyn:

The Rising

Bearing their Welsh, their hunger, cold,
they trudged the roads from Ceredigion,
Carmarthenshire, the lonely upland farms,
to Merthyr and a dream of gold.

Ironstone miners, puddlers. Their hearts of iron
made their masters rich, Merthyr our biggest town,
twenty-thousand by eighteen thirty one,
that blazing day a working class was born.

They gathered beneath the peaks of Pen-y-Fan,
Corn Ddu, Cribyn, and soldiers shot them down.
Lament injustice, slaughter, the good man
hanged as a warning: Dic Penderyn.

Yn gweithio ym mwyngloddiau’r dwyrain,
ifanc, dewr, Dic Penderyn,
calon gref, calon haearn,
dieuog i’r crocbren.

Kinetic Trees, Canolfan Soar

Martin Smith
completion date:


This commission was part of the Merthyr Tydfil Town Centre Public Art scheme. Theatr Soar is an important asset in the cultural life of the town and is also a centre for the Welsh language in Merthyr. It is highly visible from the car park at the rear which provides a convenient access point, however the High Street entrance is less visible. The view from High Street is screened by shop fronts so that the theatre entrance can only be seen at the end of the passageway. This reduced visibility prompted this commission to make a work of art that brings the theatre's presence firmly into the High Street and gives it greater prominence.

Martin Smith was commissioned to create a dynamic sculptural intervention at the passageway's entrance to the High Street that would announce the theatre's presence, whilst also reflecting that this area of Pontmorlais is a conservation area.

Martin's design of two stylised metal trees forming an arch above the gates, with a lantern in the centre, creates a welcoming and contemporary entrance that also nods to the past. Old photographs of the entrance show that originally there was a metalwork arch above the gate which supported a lantern. One tree branches out over the pavement, ensuring that pedestrians are alerted to the theatre's entrance from much further down the street.

Instead of leaves, the trees are decorated with yellow kinetic elements that spin in the wind. During the design process Martin held workshops at Theatr Soar to create hand held spinning machines with children and adults.

Y Caban - public art commission for Pontio

Atelier van Lieshout
completion date:


In early 2014 the process of selecting an artist for this commission began. Pontio (Bangor University's Arts and Innovation Centre) had already been working with lead artist Bedwyr Williams to research and develop ideas for projects and Celfwaith's role was to bring those ideas together to form a series of exciting commission opportunities.

Funded by the Arts Council of Wales, this is the first of three commissions for the new arts development.

The brief required a contemporary response to the concept of the quarrymen's 'caban'.
'Y caban' was a place where quarrymen in the Welsh slate quarries (and mines) met during their lunch break – to sing, debate, and discuss various topics. A caban was a standalone building above ground (or a small chamber within a mine), which had been created by the men.

The workforce was primarily Welsh-speaking, and the caban was the hub of cultural activities. It was a great privilege to be the President of a caban and each caban had a committee. A surviving set of minutes from a caban at the Llechwedd mine at Blaenau Ffestiniog for 1908–10 records discussions on Church Disestablishment, tariff reform and other political topics. Union matters, charitable causes, Sunday sermons, educational topics and current affairs were the most common topics. During the 1904-5 Reformation prayer meetings were held in the caban.

Minor Eisteddfodau were held in the caban of some of the larger galleries during lunch hour, with someone from outside the quarry invited to judge. Competitions were held for soloists, groups, wind instruments, recitals, and poetry and prose writing. Two of the quarry Eisteddfodau even held a Bardic Chair competition, with the awarding ceremony taking place in the caban with all pomp and circumstance.

Many influential preachers and writers started their careers as quarrymen and credit the caban and the older quarrymen as inspiration for their calling. Some became clergy of the Church, and others ministers of Welsh nonconformist chapels. Quarrymen were also poets and writers, writing popular poems, and winning prizes and medals at Eisteddfodau. Their achievements are all the more remarkable considering they started their careers at a very early age some as young as 8 years old and were largely self-taught.

The Project
The historical caban was intended as a conceptual starting point - “something that celebrated the way the workers transformed what was basically a hut into myriad different uses. To perform, to argue, to discuss and to dream.” (Bedwyr Williams) The brief was not to replicate a historical structure, but to create a modern day meeting place where people could informally or formally meet and hold events.

There was a very strong response to the call out for expressions of interest, from artists, artists collaborating with architects, and from innovative architectural practices. From a short-list of five, Atelier Van Lieshout was selected; a studio practice led by Joep Van Lieshout which has an impressive track record of creating original, challenging and yet playful work. He produces objects that balance on the boundary between art, architecture and design, encompassing sculpture and mobile homes, buildings and furniture. This commission is their first permanent, site-specific installation in the UK.

Industry, the relationship between man and machine, and the de-industrialisation of the Western world are recurring themes in the work of Atelier Van Lieshout. The inspiration for this work comes from the industrial history of North Wales, as the historical main supplier of slate, and from the history of Bangor University, founded with money raised by the quarrymen, in order to educate and elevate the workers.

The slate miners toiled the soil, and their hard work provided the wealth that was the foundation of Bangor University. The University, in turn, uncovered the intellectual wealth, the academic capacities of the populace. The irregular shape of Y Caban refers to underground wealth, a golden nugget.

One Coleg Menai student benefited through an internship at the artist's studio in Rotterdam and worked with the team as they started to build the wooden frame of the fibreglass structure.

Y Caban was finally installed in October 2015 and opened to the public in early November and has already had some interesting visitors...

Tactile interpretation model of Blackfriars Friary, Bute Park

Rubin Eynon
completion date:


This project to create a tactile interpretation model of Blackfriars Friary was part of the Bute Park Restoration Project. The Blackfriars Friary site had been recently restored and although it has a fascinating history, it is poorly understood.

The brief was to create a scale model of how the friary would have looked when originally built. The medieval friary was established in the 13th century and home to a Dominican Order of Friars who were known as ‘Blackfriars’ on account of the black cloaks they wore over their white habits. However, the friary was dissolved under the reign of King Henry VIII in the 16th century and became derelict.

Much of the original building material was taken and reused by the local population in the following years so very little remained by the 19th century by which time the site formed part of the private pleasure grounds of Cardiff Castle. The third Marquess of Bute, while in residence at Cardiff Castle, commissioned an archaeological investigation of the area. This unearthed some medieval foundations and the plan of the original friary and its ancillary buildings were inferred.

The Marquess employed his architect William Frame to interpret the remains as a garden feature, which he did in low lying brickwork using different colour bricks to show where original medieval material was found and where its previous position could only be inferred.

Reproduction medieval tiles based on fragments found during the excavations were produced and laid out across the floor of the Church Choir and Nave as part of the Frame scheme.

After the Castle and grounds were handed to the people of Cardiff and taken under the stewardship of Cardiff Council the site fell once again into decline. Being back in the public domain, the site was susceptible to theft and vandalism and much of the brickwork and tiles were lost.

Artist Rubin Eynon was appointed having previous relevant experience at Caerphilly Castle and Caerleon Roman Fortress. Following a site-visit and meetings with Mark Redknap, Head of Collections & Research, Archaeology & Numismatics at National Museum Wales, Rubin prepared a digital design of the model which was agreed to be the most accurate 3D interpretation of the site given the floor plan and comparisons with other friaries of a similar scale and date. Mark Redknap provided invaluable advice on architectural details such as the shape and size of windows and the shape of the bell tower.

A bi-lingual key was also added to the model to identify the functions of the different buildings.

The model was cast in bronze and will weather gradually over time developing a rich, aged patina that will make it look like a relic of the past.

Denbigh Town – Castle Link scheme, Broomhill Lane part 2

Joss Smith, Rebecca Gouldson
completion date:


The objective to achieve greater awareness for visitors to Denbigh Castle and Walls from the town was largely met by the colourful and attractive new fingerpost (http://www.celfwaith.co.uk/projects/denbigh-town-castle-link-scheme-broo...). But looking up the lane, there was still more needed to encourage visitors to take this path. The lane turns a sharp right at the top and so the view up from the high street stops at a wall. It was decided that a sculptural feature at this junction would give further reason to explore.

Joss Smith created a large scale relief sculpture and built it into the wall itself, which was dismantled and re-built by a local stone waller. The relief is in the shape of the iris of an eye, filled with flower motifs (including the broom flower) which reference the story of Blodeuwedd from the Mabinogion. She was a woman created by Math and Gwydion from nine types of flowers - broom, meadowsweet, oak blossom, primrose, cockle, bean, nettle, chestnut and hawthorn. Married to Llew Llaw Gyffes, she later fell in love with Gronw Pebyr and betrayed her husband by finding out how he could be killed and arranging his death with Gronw. However, Gwydion, avenged his nephew Llew by changing Blodeuwedd into an owl, the most hated of all birds. Some say that Gwydion pursued the faithless Blodeuwedd through the night sky, and a path of white flowers sprang up in the wake of her passing, which we today know as the Milky Way. Joss makes reference to these parts of the story with two small scale sculptures installed on the wall above the lane, of an owl in flight, and the milky way.

The broom flower wasn't the only theme to be interpreted by the artists. Rebecca Gouldson created seven designs for the utility covers along the lane, each interpreting a different historical fact or person about Denbigh. The utility covers needed to have an overall pattern and texture for safety reasons and she overlaid imagery and text over details of historical maps of the area.

The seven cover designs represent the following subjects:
1. Gwasg Gee and 'Y Gwyddionadur Cymreig'
2. The glove-making industry
3. Denbigh, Ruthin and Corwen Railway, and the opening of the railway from Ruthin to Denbigh on St David's day 1862
4. Kate Roberts 1891 – 1985 author and also a link with Gwasg Gee
5. Isaac Roberts 1829 – 1904, pioneer of astrophotography
6. Denbigh Castle
7. Hugh Middleton 1560 – 1631, goldsmith and self-taught engineer best known for bringing clean water to London in 1613.

The Town Guides in Denbigh now have a route to take visitors full of inspiring artworks to help them tell the story of Denbigh and bring history to life.

The Denbigh Town - Castle link scheme was part of Cadw’s £19 million Heritage Tourism Project funded by the European Regional Development Fund (ERDF) through the Welsh Government. The project was officially opened on the 28th November 2014.

Bute Park play sculptures

Tom Harvey
completion date:


Bute Park, a Grade I listed historical landscape in Cardiff, underwent a £5.6 million restoration project, supported by a £3.1 million grant from the Heritage Lottery Fund (HLF). The project restored some important historic features, provided new facilities and helped tell the story of Bute Park. As part of the project, sculptural play features were commissioned to introduce young people to site specific ecological and historical themes and function as part of a discovery play trail through the park.

Bute Park is Cardiff’s premier park, located in the city centre, on the eastern bank of the river Taff and described as one of the largest urban parks in the country. The southern section of the park was laid out by Andrew Pettigrew, a significant gardener and horticulturalist, as part of the pleasure grounds of Cardiff Castle, which were gifted to the people of Cardiff in 1947, along with the Castle. The southern end of the park acts as a setting to the castle with views featuring a foreground of the mature Magnolia collection. The character of the wider park is dominated by the nineteenth century plantings of mature trees supplemented by the development of the Bute Park Arboretum. The former Castle pleasure grounds’ northern boundary was the walled garden, which was used for fruit and vegetable production for the Bute family estate. Further north in the park, are extensive playing fields and woodlands which form a green corridor from the heart of the city centre to its periphery.

Sculptor Tom Harvey was appointed to create five sculptural play features which can be climbed and explored in a variety of ways. All five sculptures are linked to different locations throughout the park, for example the otter and fish sculpture is next to the river, the ‘leaf bridge’ is near the footings of an earlier bridge over the River Taff and the hollowed out log with apple tree carvings is on the orchard lawn near the Education Centre.

There is also a ‘stag beetle’ in Old Man’s Wood, not far from the popular warthog-inspired landscape feature dubbed by some as ‘Pumba’. The final sculpture of a frog and fly, which is near the Summerhouse, was developed as part of a workshop with local school children. This last sculpture was actually carved from a fallen tree stump on site.

Tom said: “I work within the tradition of direct carving without the use of scale model and this process of discovery makes the creation of the sculptures all the more dynamic. Oak and other woods native to Britain are my preferred materials to carve as they are readily available and work better within the environment."

For more information and images visit:

Golwg y Coed public art commission

David Mackie
completion date:


Golwg y Coed is a new housing development on the outskirts of Barry. The site is adjacent to Pencoetre Wood, which is an ancient woodland. The woodland context and natural character of the site was retained through planting of new hedgerows and trees and retaining existing trees where possible.

The development also includes a new playground and the artist David Mackie was commissioned to design the gates to the playground and motifs to add to the railings. He also designed a series of markers along the footpath leading from the main road into the development, which runs along the boundary of the woods.

David worked with several local schools to develop the design, including Ysgol Bro Morgannwg, Cadoxton Primary, Barry Comprehensive, Colcot Primary and St Richard Gwyn RC High School. The theme for the workshops was 'the woodlands and its wildlife' and pupils made drawings, relief work and maquettes. David then translated many of the pupils' work into the roundels on the playground railings, and the bronze relief panels set into the stone markers.

The project was commissioned by Taylor Wimpey plc as part of the Vale of Glamorgan's percent for art policy.

Arwydd Llwybr Arfordir Ynys Môn

Peter Randall-Page
completion date:


Yn 125 o filltiroedd, mae Llwybr Arfordir Ynys Môn yn cynnig cyfleon diguro i brofi tirweddau arfordirol amrywiol a gogoneddus Môn; ar draws aberoedd llydan a thraethau melyn hardd, trwy gildraethau unig a phentrefi bychain, wrth ddilyn y llwybr caiff cerddwyr brofi bywyd gwyllt, hanes a threftadaeth ddiwylliannol yr ardal.

Mae’r rhan fwyaf o’r Llwybr Arfordirol o fewn yr Ardal o Harddwch Naturiol Eithriadol (AHNE) fwyaf yng Nghymru; tirwedd sydd wedi’i dynodi’n benodol i warchod cymeriad arbennig a harddwch naturiol yr ardal.

Fel rhan o brosiect Llwybr yr Arfordir, comisiynodd Cyngor Môn Peter Randall-Page i greu arwydd i’r llwybr i’w leoli yng nghysgod Pont Grog Thomas Telford dros y Fenai. Clogfaen mawr naturiol yw ‘Cylchfordaith’, wedi’i gerfio ag amlinell map yr ynys, amlinell a ailadroddir am i mewn ac am allan nes gorchuddio’r cyfan o wyneb y maen. Gyda phob haen, caiff amlinelliad yr arfordir ei lurgunio fwyfwy gan ffurf arw, naturiol y maen, fel mai dim ond yr amlinell cerfiedig gwreiddiol o Fôn sy’n cyfleu’r siâp cywir.

Mae’r gwaith cerfio ar y maen yn dwyn i gof hen gelfyddyd cynhanesyddol a Cheltaidd gorllewin ynys Prydain, ac yn ffurfio cysylltiad â’r meini hirion a’r safleoedd archaeolegol sydd mor gyforiog ar Ynys Môn.

Mae gan Peter Randall-Page enw rhyngwladol drwy ei gerflunwaith, ei luniadau a’i brintiau. Mae wedi ymgymryd â sawl comisiwn ar raddfa fawr ac wedi arddangos yn helaeth. Mae ei waith i’w weld mewn casgliadau cyhoeddus a phreifat ym mhedwar ban byd gan gynnwys Japan, De Corea, Awstralia, yr Unol Daleithiau, Twrci, Iwerddon, yr Almaen a’r Iseldiroedd. Ceir detholiad o’i gerfluniau mewn sawl lleoliad trefol a gwledig ledled Prydain gan gynnwys Llundain, Caeredin, Manceinion, Bryste, Rhydychen a Chaergrawnt, ac mae ei waith yng nghasgliadau parhaol Oriel Tate a’r Amgueddfa Brydeinig ymysg eraill.

Mae ei waith comisiwn yn cynnwys 'Give and Take' yn Newcastle a enillodd Wobr Marsh 2006 am Gerflunwaith Cyhoeddus, 'Mind's Eye', darn mawr o waith cerameg wedi’i osod ar y wal yn Adran Seicoleg Prifysgol Caerdydd (2006) a cherflun coffa i Bennaeth Mohegan yn Eglwys Gadeiriol Southwark (2006). Ymhlith ei brosiectau diweddar mae ‘Harmonic Solids’, Prifysgol Karlsruhe, yr Almaen (2013), ‘Metamorfoz’, Eskisehir, Twrci (2011), ‘Ridge and Furrow’, Prifysgol Iowa, UDA (2011), ‘Walking The Dog’, Oriel Luniau Dulwich (2009), pont i’r ardd yn Dartington Hall (2011) ac arddangosfa un dyn yn yr Oriel Danddaearol ym Mharc Cerfluniau Swydd Efrog (Mehefin 2009 - Ebrill 2010).

Ysbyty Cwm Cynon - comisiynau mewnol

Kathy Dalwood, Laura Thomas, Pascal Dubois
completion date:


Ym mis Hydref 2010 penodwyd Celfwaith gan Ymddiriedolaeth Iechyd Cwm Taf i lunio cynllun comisiynu ac i weithredu comisiynau celf gyhoeddus ar gyfer Ysbyty newydd Cwm Cynon. Roedd y gwaith adeiladu ar droed ac fe gysylltwyd ar frys â’r pensaer i nodi lleoliadau posibl ar gyfer gweithiau celf. Llwyddwyd i wneud newidiadau ac addasiadau i’r cynllun adeiladu er mwyn cynnwys celf gyhoeddus yng ngwead yr adeilad a’r cyrtiau allanol. ‘Dod â’r tu allan i mewn’ oedd y thema fras a awgrymwyd gan Benseiri HLM, ac roeddem yn hapus i ddilyn hynny, gan fod yr adeilad yn sefyll mewn tir mor hardd a bod ôl troed yr ysbyty’n adleisio ffurf afon Cynon gerllaw. Dyluniwyd yr adeilad i harneisio’r defnydd o olau dydd naturiol gan ddangos sensitifrwydd arbennig i’r tir o amgylch, felly roedd gwead, defnydd a manteisio ar olau naturiol yn ystyriaethau allweddol hefyd wrth ffurfio briffiau’r artistiaid.

Nodwyd a gweithredwyd pum comisiwn, tri y tu mewn i’r adeilad a dau yn y cyrtiau allanol.

Murlun cerfwedd Wal yr Atriwm
Penodwyd Kathy Dalwood i greu murlun cerfweddol mawr yn yr atriwm, wedi’i fframio â wal o lechi. Ymgynghorodd â staff o ysbytai Aberdâr ac Aberpennar (a fyddai’n uno i greu’r ysbyty newydd) ac ymchwiliodd i hanes yr ardal. Mae’r wal wrth-gerfwedd 15 metr o hyd yn gymysgedd chwareus a difyr o ddelweddau sydd wedi’u creu drwy gastio uniongyrchol o wrthrychau a defnyddiau go iawn.

Gwelir y motiffau canlynol:
- pensaernïaeth – tai teras, capeli, tafarndai, pontydd ar afon Cynon
- cerddoriaeth a bandiau jazz – offerynnau cerdd a manylion oddi ar wisgoedd y bandiau
- glofeydd – merlod y pwll ac offer anadlu
- manylion pensaernïol mewnol o’r hen ysbytai
- y cofadeiliau yn y ddau bentref
- llyfrau cownt yn yr hen ysbytai’n cofnodi rhoddion gan noddwyr a glowyr tuag at redeg yr ysbytai cyn sefydlu’r Gwasanaeth Iechyd Gwladol
- offer meddygol – gwahanol fathau o siswrn, llif a gefel

Mae’r gwaith wedi’i oleuo gan olau naturiol o’r ffenestri yn y to uwchben y gwaith a goleuadau artiffisial sydd wedi’u gosod i greu golchiad o olau dros y gwaith.
Lluniodd Kathy fersiynau silwét o rai o’r motiffau hefyd, i’w hysgythru’n addurniadol ar baneli gwydr y grisiau a’r balconi.
Am ragor o luniau gweler http://www.kathydalwood.com/cynon%20valley%20sculpture.htm

Paneli tecstilau a gwydr Wal y Coridor
Ar hyd y coridor sy’n edrych dros y prif gwrt cyhoeddus ceir Ward y Plant, Uned Gofal Dydd a Gwasanaethau Therapi. Trwy’r ysbyty i gyd gwelir streipiau lliw ar hyd y waliau i ddangos y ffordd. Mae gan bob ward ei lliw a gallwch ddilyn streipen o’r lliw hwnnw ar hyd y coridor nes cyrraedd eich ward. Er i’r system hon ei gwneud hi’n anoddach cynnwys gweithiau celf ar y waliau, yr oedd yn bosib gwneud hynny cyn belled â bod y gweithiau celf yn cyd-fynd â’r lliwiau hynny.

Comisiynwyd Laura Thomas i greu cyfres o naw o baneli wal. Maent yn cynnwys edafedd lliw wedi’u gwehyddu’n llac a’u gosod rhwng dau gwarel o wydr. Cafodd gweadau edafedd cotwm, sidan a lliain llachar eu lamineiddio mewn gwydr gwydn tra thryloyw, a’u lliwiau’n graddio’n raddol dros y naw panel. Mae pob panel yn mesur 85x85cm a gweithiodd Laura gydag Innovative Glass Products i’w gwneud.

Rhedodd Laura gyfres o weithdai hefyd mewn tair ysgol gynradd gan fynd â gwyddiau bychain gyda hi a dysgu’r disgyblion sut i wehyddu. Aeth ag amrywiaeth o liwiau a defnyddiau gyda hi a dangosodd enghreifftiau o’i gwaith ei hun er mwyn ysbrydoli’r disgyblion.

Am ragor o luniau gweler http://laurathomaswoventextiles.blogspot.co.uk/

Gwaith Celf y Bwyty
Comisiynwyd Pascal Dubois i greu gwaith celf ar y wal yn arwain at y caffi a’r bwyty. Wedi’i ysbrydoli gan y dirwedd leol fe dynnodd nifer o ffotograffau o goed o safbwynt isel a’u pwytho at ei gilydd yn ddigidol i greu ‘Llwybr’. Mae’r cyfansoddiad yn rhoi ymdeimlad o edrych i fyny o lwybr drwy’r coed, ac o ffurf ymddolennog yr afon (y seiliwyd dyluniad yr adeilad arni).

Ar y paneli triptych ceir printiau digidol o ansawdd uchel wedi’u hargraffu trwy broses Diasec ar banel alwminiwm ysgafn gyda gorffeniad lacr gwydn sy’n gwrthsefyll crafiadau.

Ysbyty Cwm Cynon - comisiynau allanol

David Pearl, Walter Jack
completion date:


Ym mis Hydref 2010 penodwyd Celfwaith gan Ymddiriedolaeth Iechyd Cwm Taf i lunio cynllun comisiynu ac i weithredu comisiynau celf gyhoeddus ar gyfer Ysbyty newydd Cwm Cynon. Roedd y gwaith adeiladu ar droed ac fe gysylltwyd ar frys â’r pensaer i nodi lleoliadau posibl ar gyfer gweithiau celf. Llwyddwyd i wneud newidiadau ac addasiadau i’r cynllun adeiladu er mwyn cynnwys celf gyhoeddus yng ngwead yr adeilad a’r cyrtiau allanol. ‘Dod â’r tu allan i mewn’ oedd y thema fras a awgrymwyd gan Benseiri HLM, ac roeddem yn hapus i ddilyn hynny, gan fod yr adeilad yn sefyll mewn tir mor hardd a bod ôl troed yr ysbyty’n adleisio ffurf afon Cynon gerllaw. Dyluniwyd yr adeilad i harneisio’r defnydd o olau dydd naturiol gan ddangos sensitifrwydd arbennig i’r tir o amgylch, felly roedd gwead, defnydd a manteisio ar olau naturiol yn ystyriaethau allweddol hefyd wrth ffurfio briffiau’r artistiaid.

Nodwyd a gweithredwyd pum comisiwn, tri y tu mewn i’r adeilad a dau yn y cyrtiau allanol.

Comisiwn ffynnon olau’r Atriwm
Penodwyd David Pearl drwy gystadleuaeth ddylunio i greu cerflun o fewn cwrt cul sy’n gweithredu fel ffynnon olau i’r atriwm. All y cyhoedd ddim mynd i’r cwrt hwn ond maen nhw’n gallu gweld i mewn iddo drwy wal o ffenestri o’r llawr i’r nenfwd. Dau adeiledd lletraws o baneli gwydr tryloyw ac anhryloyw mewn ffrâm ddur gloyw yw ‘Grisiau Goleuol’, sy’n adlewyrchu ac yn dal golau’r haul o fewn y ffynnon olau, gan greu cysgodion lliwgar ar y wal.

Am ragor o luniau gweler http://www.david-pearl.com/page021.htm

Cerfluniau’r Cwrt Cyhoeddus
Ar gyfer y cwrt cyhoeddus mwy o faint, penodwyd Stiwdio Walter Jack i ddylunio nodweddion cerfluniol, gan gynnwys seddi, i dri llecyn crwn o fewn y prif gwrt cyhoeddus. Fel rhan o’u briff, bu Walter Jack a’i gydweithwyr yn hwyluso gweithdai yn Ysgol Gyfun Aberpennar gyda chriw o fyfyrwyr BTEC, gan ddangos model o’r cwrt iddynt ac egluro’r briff. Wedyn datblygodd y myfyrwyr eu hymateb eu hunain i’r safle, gan wneud modelau a thrafod defnyddiau, ymarferoldeb technegol a chwestiynau ynghylch gosod y gwaith gyda’r artistiaid.

Mae’r cerfluniau wedi’u gwneud o diwbiau dur gwrthstaen wedi’u casglu’n dynn at ei gilydd, a’u troelli a’u hagor tuag i fyny, gan ffurfio pwynt canolog yn y cylch canol, gyda phlanhigion bambŵ a seddi derw’n meddalu’r ddau gylch arall ac yn ategu’r nodwedd ganolog.


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