Helen Scutt, the Garden Director of Aberglasney, welcomed CASW members along with the artist in residence, Andrew Douglas-Forbes.
Unfortunately, the abysmal weather conditions hindered exploration of Aberglasney’s garden, leaving only the covered atrium at the back of the house for members to experience. Known as ‘The Ninfarium’, it has been redesigned to become an ideal habitat for tropical and Mediterranean plants such as the Bird of Paradise Flower, rare orchids and some magnificent palms. The house itself is undergoing extensive restoration and members were guided to the first-floor to view the detail and skills involved in the work. In one of the rooms, the original decorative plaster covings and cornices were displayed. As CASW’s secretary, Chris Childs, enthused, these ‘could have been an installation in their own right!’
The plaster covings and cornices could have been an installation in their own right.
Aberglasney resident artist, Andrew Douglas-Forbes, proved a very enthusiastic guide. Members had the rare privilege of visiting the garret-like studio in the attic. He shared with us many of his watercolours and sketches which will soon be available in the Garden shop. Andrew’s role also extends to designing the labels for Aberglasney products for sale such as their gin, coffee and greetings cards.
After a picnic lunch (sheltered under the marquee of the Garden Café), members headed over to Cliver Hicks-Jenkins’ exhibition Gwrach/Witch at Oriel Myrddin.
Members were greeted by David Wilson, the interim director of the gallery, Elaine Cabuts, the CASW Executive member who had arranged the day, and Isobel Davies, CASW’s vice-chair. Clive himself – a long-standing CASW member – guided members through his brilliant exhibition, the culmination of 15 years’ work on the fairytale ‘Hansel and Gretel’ in which he developed his own interpretations of the tale in a multitude of media. The exhibition included original artworks, illustrations as well as animations, all presented in an immersive way with low lighting and suitably ominous music, creating a spellbinding atmosphere befitting of this dark yet beloved tale.
Alongside the wooden toys and puppets collected by Clive – a special interest of his – the puppets used in the live performance of Hansel and Gretel: A Nightmare In Eight Scenes were also on display. This was a creative collaboration with Poet Laureate Simon Armitage, who wrote the libretto. The work premiered at the Cheltenham Music Festival in 2018 directed by Clive himself with music by Matthew Kaner. CASW member, Sian Davies, commented that the puppets were ‘utterly charming and child-like, which made the realisation that the true Hansel and Gretel tale did not end well even more poignant’.
Clive Hicks-Jenkins’ puppets were utterly charming and child-like…
In the evening, members attended a very entertaining talk between Clive and Sean Vicary. They both discussed the ideas behind the exhibition as well as both of their respective art influences. As part of their creative output, both had worked with animation and found some common themes between them. Jean Cocteau turned out to be a shared influence on both artists. For Sean, Orpheus was the film which he found the most overwhelming whereas Clive confessed that when he saw Beauty and the Beast as a 14-year-old, it changed his life.
Despite the wild wind and heavy rain, CASW members found the Carmarthenshire visit both highly enjoyable and informative. They felt privileged to be given exclusive access to artists and art projects giving them a sense of the range of creative work going on in Wales at the moment.
This is CASW’s first blog! Please look out for the next blog in our series of regular blogs which will feature an interview with Clive Hicks-Jenkins. He discusses his life, art practice and personal interests in his lovely home in the hills near Abergavenny.
Clive’s exhibition Gwrch/Witch at Oriel Myrddin
Clive Hicks-Jenkins, Puppet Theatre
CASW members viewing work of Aberglasney’s resident artist, Andrew Douglas-Forbes