Showing 5 results

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.

‘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 recording, 2016, of the song ‘Bran’ which was composed and performed by Lynne Denman in response to Erin Kavanagh’s work on Cardigan Bay and ‘Branwen uerch Lyr’ as well as the discovery of prehistoric antlers at Borth in 2016, anticipating their association with the ‘King of the Sea Trees’ in Erin Kavanagh’s poem; recorded by Erin Kavanagh and used in the films ‘The Bridge’ and ‘Layers in the Landscape’ as well as in the project exhibitions.

‘The Bridge’ / ‘Y Bont’, 2016, a short film created as a ‘deep mapping’ experiment set in Cardigan Bay and which was the pilot for the ‘Layers in the Landscape’ project, having grown out of Erin Kavanagh’s Master’s dissertation at UWTSD; the contributors include Maria Hayes (artwork), Lynne Denman (song), Diarmuid Johnson (flute), Martin Bates (geoscience), Peter Stevenson (narration) and Erin Kavanagh (stills photography and artwork); each commissioned response was integrated into the film to show how an interdisciplinary approach to site specific representation could be achieved in a format that is equally accessible to all sides; filmed and edited by Jacob Whittaker, and produced and directed by Erin Kavanagh.