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A photograph, 2016, of the ‘Thin Deep Map’ designed by Erin Kavanagh to depict the multidisciplinary components of the ‘Layers in the Landscape’ project, drawing on geological science, medieval literature, poetry by Erin Kavanagh and images by Peter Stevenson to illustrate the change in the coastal border, the prehistoric antlers and related folklore; the map was used in the film ‘Layers in the Landscape’ and in the project exhibitions.

A photograph, 2017, of the submerged forest at Borth, used in the project exhibitions; photograph by Erin Kavanagh.

Author's proof copy, 2019, of 'Writing wonders: poetry as archaeological method?' by Erin Kavanagh in which she discusses theoretical aspects of her poem ‘King of the Sea Trees’.

A photograph, November 2017, of Mererid Hopwood and Erin Kavanagh at the launch of the ‘Layers in Lampeter’ exhibition, which Professor Hopwood opened.

A photograph, November 2017, of Mererid Hopwood and Erin Kavanagh at the launch of the ‘Layers in Lampeter’ exhibition, which Professor Hopwood opened.

A photograph, January 2018, of Lynne Denman singing her song ‘Bran’ at the ‘Layers in Lampeter’ exhibition during the ‘Penrolio’ event; photograph by Jacob Whittaker.

A poster, 2016, describing the ‘Layers in the Landscape’ project, produced by Erin Kavanagh to be shown in London as a requirement for funding by the ISRF; the poster was also displayed with the ‘Layers in the Landscape’ film in the National Maritime Museum, Amsterdam, in 2017.

‘Layers in the Landscape’, 2016, a short film which sought to ‘deep map’ Cardigan Bay by bringing together multi-disciplinarian experts in a range of fields, each with skill crossovers with at least one of the other participants; what they chose to produce was their own choice and developed organically; the contributors include Martin Bates (geoscience and archaeology), Maria Hayes (artwork), Diarmuid Johnson (medieval Welsh language and literature), Lynne Denman (song), Peter Stevenson (artwork and folklore), Jacob Whittaker (filming and editing) and Erin Kavanagh (direction, production, folklore, photography, geoscience, archaeology and artwork), and there is also an interview with the geoscientist Denis Bates; the film includes the ‘Time Scroll’, the ‘Thin Deep Map’ and excerpts from the ‘Bran’ song’ and the ‘King of the Sea Trees’ poem; filmed and edited by Jacob Whittaker, directed and produced by Erin Kavanagh, and used in the project exhibitions.

A digital copy, 2016, of the poem 'King of the Sea Trees', composed and illustrated by Erin Kavanagh and described by her as ‘a myth [which] communicates disparate unpublished and published archaeological/geological data from the submerged landscapes along the coast of Wales, combined with poetic, mythic, folkloric, and song references’; the poem was used in the film ‘Layers in the Landscape’ and in the project exhibitions, and inspired several pieces of work in other media which also appeared in the exhibitions.

A photograph, 2016, of Jacob Whittaker filming 'Layers in the Landscape' on Borth beach; photograph by Erin Kavanagh.

A photograph, November 2017, of 'Haenau'r Tirlun', an englyn composed by Mererid Hopwood for the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.

A digital copy, June 2015, of 'Of myth and man: essaying the space-between in geomythological theory', an unpublished UWTSD Master's dissertation by Erin Kavanagh discussing the relationship between aspects of 'Branwen uerch Lyr' and Cardigan Bay in the context of geomythology, science and archaeology.

A photograph, 2016, of Emily Hawkins working on the audio recording of Erin Kavanagh's reading of the ‘King of the Sea Trees’ poem; photograph by Erin Kavanagh.

A photograph, January 2018, of Dafydd Eto (David Moore) about to sing the ‘King of the Sea Trees’ shanty at the ‘Layers in Lampeter’ exhibition during the ‘Penrolio’ event; photograph by Erin Kavanagh.