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A scan of 'Branwen's starling', a watercolour by John Chamberlain, sent to Erin Kavanagh in 2022 in response to the 'Layers in Lampeter' exhibition, and in particular ‘Branwen uerch Lyr’.

Draft of a letter by Sir Paul Silk on the role of the Wales' Governance Centre in the work of the Commission on Devolution in Wales.

Draft of a letter by Sir Paul Silk on the role of the Wales' Governance Centre in the work of the Commission on Devolution in Wales.

A letter to Sir Paul Silk from Roger Lewis, Chair of Cardiff Airport, relating to the potential devolution of Air Passenger Duty (APD>

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

Author's proof copy, 2018, of 'Re-thinking the conversation: a geomythological deep map' by Erin Kavanagh in which she describes the conceptual framework behind her ‘deep mapping’ of Cardigan Bay and explains the activities undertaken by the ‘Layers in the Landscape’ project.

A photographic reel, January 2018, containing an account of a live performance entitled ‘Penrolio’ at the castle mound, UWTSD Lampeter, in which R.M. Parry delivered his sculpture, ‘Pen Bendigeidfran’, to the ‘Layers in Lampeter’ exhibition; the performance was inspired by ‘Branwen uerch Lyr’.

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.

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

A postcard image, 2017, of the ‘King of the Sea Trees’, drawn and designed by Erin Kavanagh with an extract from her poem of the same name; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

The Welsh poster design, 2017, for the ‘Borth's Lost Legends / Chwedlau'r Borth a Gollwyd’ exhibition.

The English poster design, 2017, for the ‘Borth's Lost Legends’ exhibition.

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

A recording, August 2017, of the 'King of the Sea Trees' shanty, composed and performed by David Moore (under the pseudonym Dafydd Eto) and drawing on traditional songs of the sea in response to Erin Kavanagh's poem of the same name, with the prologue of the poem spoken by Erin Kavanagh and also backing vocals by her; recorded by Jacob Whittaker and used in the project exhibitions.

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 photograph, 2017, of Valerie Price and her sculpture ‘Mammoth’, which was used in the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.

A photograph, November 2017, of part of the display at the ‘Layers in Lampeter’ exhibition, including the prehistoric red deer antlers, the ‘Brenin Y Coed Môr’ sign and the 'Time Scroll'; photograph by Erin Kavanagh.

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