About one year from the start of my role as an Amgueddfa Cymru Producer (ACP). I’m now at the end of my time with the museum, and I’ve been asked to reflect on the experience.

My work with the museum started in June 2025 with a workshop before pride (there’s a whole blog post about that too, which you can find here). After that first workshop was delivered, I wanted to try and construct a workshop of my own. One that allowed people to see more of the Queer Welsh history that the museum has to share. My early research into the Amgueddfa Cymru’s online collections catalogue revealed a whole host of things that can’t all be displayed all of the time. I was exceedingly lucky that when I asked if I would be able to plan, and just maybe deliver this workshop, that Amgueddfa Cymru said yes. 

The first step was to decide what I wanted to be able to offer people. After visiting St Fagans National Museum of History with a friend a few months earlier I realised that I wanted to make people feel at home. This idea came about through the Rhyd-y-car Terrace Houses. Quite often I find it’s easy to feel detached from these spaces, as though they only reflect other people. Typically, I notice a focus on the family home in museums, but the married heterosexual 2.4 kids and a dog kind of life has never reflected my own situation. It’s important to remember also that this nuclear family structure is a fairly modern invention, and one that has always been aspirational. People wanted it exactly because it’s not the life that they were actually living.

With the idea of home in mind, I set about researching. I drew a lot of inspiration from Sara Ahmed’s Queer Phenomenology as well as Mike Parker’s On the Red Hill: a very different — and much easier to read — book about two gay couples living in Wales. Reg Mickisch and George Walton moved to Wales after meeting in London and living in Brighton together. They ran a couple of BnBs, and at their deaths they left their home Rhiw Goch to Parker and his partner. The book engages with these ideas of finding and making a home, and the return to nature after living in the city. Photos of Reg and George on their various cycling holidays, and at their wedding, can be accessed through the Amgueddfa Cymru’s online collection.

Both books led me to be guided by the idea of orientation, as it relates to locating yourself and things, but also sexual orientation. What is it that we are drawn towards? Who are we drawn towards? Where do we find ourselves attracted towards? This gave the workshop its semi-guided structure. At each stop on the tour, I allowed people to wander off and come back having found their own way around. This meant that everyone had a different experience of the site and latched on to different objects and stories. In an ideal world we would have had longer to allow people to discuss because it was fascinating to compare and see what each person related to their own experience. I was surprised by the fact that multiple people felt drawn towards the clock recovered from the Aberfan disaster in the Wales Is gallery, an object that I personally hadn’t given much thought to.

I was lucky that previous ACPs had made a self-guided queer tour booklet that I was then able to adapt into the route that we took on the day. Using most of the buildings and objects that they had picked out I did some research on the history and relevance of each stop. From here I came up with two lots of questions, one for artefacts inside the gallery spaces, and one for the buildings outside. My goal was to allow people to pick something without much conscious thought and then to examine that thing, and why they had been attracted towards it. 
 

For objects I wanted people to examine if they had made any assumptions about who might have owned or used that thing, and what those assumptions might be based on. Then there was a more personal side of questioning, are there in museums that you recognise from your own life or your family? Are there things that you would want in your home, or clothes that you would want to wear? Does it speak to the life that you lead now, or the life that you want to lead?
 

The questions for buildings were more inspired by Ahmed’s Queer Phenomenology and thought about where we imagine queer history happening. For me the idea of the public toilet and the toll house were particularly interesting because of their use as transitional spaces. Neither of them are places to rest in, to take time and get in touch with yourself. They are defined by their function before leaving becomes necessary. They suggest a brief respite, but they can never be permanent stops. I wonder if the instability of these spaces has left an effect on the queer mind?

While we had to navigate the temporary closure of the Gweithdy and the inaccessibility of the workmen’s institute I tried to touch on these in a presentation before we went exploring. It was a blend of information from the museum and the sources that had informed my planning and way of thinking for the day, however the key takeaway was this: People often make heterosexual assumptions. Perhaps deliberately, but often it is the only option that they know how to consider. However just because the heterosexual (or indeed cisgender, or male, or white) assumption might be the standard or most likely, it isn’t always verifiable or true. In cases where we do not know with certainty, where we might never know the truth, a queer interpretation might be no less astute than a normative one. The point is not to change or rewrite history, but to consider the rich inner lives of people that are now lost to us.

Overall, I am hugely grateful to Hywel and Amgueddfa Cymru for allowing me to bring this workshop from an idea I had on a wooden bench in front of a fireplace, to an actual workshop attended by friends and strangers (and newborn lambs) on a beautiful spring day. I also have to thank everyone that attended for taking a chance on my queer little workshop and bringing their experiences and thoughts to the group. Even when people didn’t speak, having people willing to show up and get involved was a pleasure and a privilege that I won’t forget.

Wales REACH is made possible with The National Lottery Heritage Fund. It is a partnership between thirteen organisations and is led by The Open University and Amgueddfa Cymru. It is funded with a grant from the National Lottery Heritage Fund. The current phase started in autumn 2024 and is scheduled to run until autumn 2026.

While the National Slate Museum is temporarily closed for a major redevelopment project, the team has been busy travelling with our ‘pop‑ups’ and attending local and national events. They have been trialling and piloting activities that will be woven into the redevelopment and sharing those plans with our communities.  Read below to see how freelance opportunities were offered to creative practitioners as part of the Amgueddfa Cymru Producers programme during the annual ‘take pART' event at Venue Cymru.

Planning and preparation

I undertook a virtual tour of the collection centre in Bangor. This was very informative and gave me a good scope of possibilities for workshops. Looking at things like a switchboard telephone with etched names by female workers; wagons created by groups of quarrymen that would transport them to and from the quarry - these would be decorated by the groups of men with each wagon having a distinct identity; a plate carefully constructed into strips of slate, each coloured by their diverse environments. Looking beyond the practicalities like machinery and tools, I was interested in the creative pursuits the quarrymen would apply their slate splitting skills. Most notably there were numerous slate carvings created by off-duty quarrymen. Contrastingly these works were intricate and detailed, they felt slower than their traditional slate splitting work. Beautiful structures and slabs carved into delicate designs - using traditional tools.

Initial Individual Ideas

Some initial ideas I had were inspired by the quarrymen wagons- Malwoden Lwyd (grey snail), was painted along the side of one. I liked the idea of customising a collective object- especially one that could be experienced by being sat inside. Ambitiously, I thought about creating a wagon that participants can decorate and sit inside. I realised quickly this wouldn’t be possible due to firstly the space for every participant to have to contribute would be limited, thus raising the question of multiple trolleys- this became a logistical and practical nightmare in my head. However, with the idea of collective contribution still in mind, a banner that participants can add to together – reminiscent of a large-scale quarryman sash. Like the wagons - the idea that this thing is bigger than a take-home element, something that could be hung or displayed together felt exciting.

First meet with Iza

After my initial tour and brainstorm, me and Iza, a movement Artist who I had the pleasure of collaborating on this project with, had our first meeting online. We shared our findings and considered our cross overs - it seemed we had both highlighted the slate carvings, the women who had etched their names into the telephone switchboard and the idea of a banner. Through this we wanted to explore the idea of women and quarry men outside of work, looking more intimately into their lives and what they choose to do in their free time. This was cemented after Iza mentioned a fireplace they had made as a prop for a window display which would create a great living room environment.

The set up of a living room allowed more storytelling and education to happen naturally. We thought about the importance of situation and how this guides people into an activity e.g. being sat around a circle encourages making together rather than in rowed desks which may feel more formal and independent. Additionally, what else can entice people into a space? Pictures on the wall can draw people in (if positioned right) and give them permission to come take a closer look. To further fill the room, we wanted to add rag rugs traditionally made by wives from old rags, hanging pictures of quarrymen as if they were our family portraits, along with pieces from the collection as ornaments on the mantle.

Final Iteration

For the Final iteration we were able to include almost all elements of our design. As you can see below, some beautiful rag rugs were brought down which re-instated the comfort felt from a living room. We had red ribbon hung above the mantle to hang participants printed outcomes. Red ribbon was a reoccurring symbol we encountered in our research found on banners and memberships, so we wanted to include this here too.

Due to the fast-paced environment that the take Part event is – it wasn’t practical to organise a steady flow of designing and printing in a circle format on the floor. Instead, we had two tables parallel to each other, one dry table for etching designs onto. Here we would explain and introduce what slate carvings were traditionally. Referencing the tools brought by Chloe and Lowri that quarrymen would have used. The participants instead used pencils, sticks and mini wooden hammers to emulate the traditional process. We also provided example of slate carving designs that could be used as inspiration.

Participants would then move on to the paint table where they could choose a colour based on the diverse colours of the plate made by different colours of slate. This Slate plate became the basis for the printing, not only for ease of accommodating many people with limited trays. We did this also to educate people who would pass through, many didn’t realise that slate could vary in colour like this. This also created a relatable element as many young people recognised names like Penrhyn as areas they were from.

Outcomes from print workshop

Overall the workshop was a great success, with over 300 participants total! We had some lovely interactions with young people wanting to experiment with the possibilities of print like layering and using multiple colours. We also had a great response from parents who also wanted to get involved and we encouraged them to create their own prints too.  

The redevelopment project of the National Slate Museum is funded by the National Lottery Heritage Fund, UK Government via Gwynedd Council as part of the Llewyrch o’r Llechi project, Welsh Government including the Community Facilities programme, the Wolfson Foundation, The Garfield Weston Foundation, and other funders.

While the National Slate Museum is temporarily closed for a major redevelopment project, the team has been busy travelling with our ‘pop‑ups’ and attending local and national events. They have been trialling and piloting activities that will be woven into the redevelopment and sharing those plans with our communities.  Read below to see how freelance opportunities were offered to creative practitioners as part of the Amgueddfa Cymru Producers programme during the annual ‘take pART' event at Venue Cymru.

This project began research and viewing the collections of the Slate Museum. Seeing how such many items are being stored, catalogued, and cared for was fascinating. Being able to see items in person gave me a tangible sense of what I could work with, and sparked ideas rooted in the less publicised history of the slate industry across North Wales and beyond. I was particularly drawn to the creative acts of mining communities, such as decorative carving, poetry, and banner making.

Working with Cara was central to the process. We began with individual research, then compared notes, shared interests, and discussed what had inspired us. In the new year, we met in person to refine our ideas. That check-in was energising we realised we were on a similar path, particularly in exploring foam printmaking so participants could create their own slate patterns. We decided on an immersive, walk-in workshop that would let people experience the history and aesthetics of carved slate fireplaces in the Ogwen Valley. Having both noticed the plate, we chose a colour palette inspired by it, highlighting slate as a global and varied industry. The collaboration itself was highly motivating, as we continually exchanged ideas. A highlight of the workshop was watching continually exchanged ideas.  

A highlight of the workshop was watching children’s reactions as their prints appeared, their pride, surprise, and excitement. Those moments showed how powerful it is to create conditions where participants can clearly see their ideas and voices reflected in what they make. I also saw how crucial preparation is; for this kind of workshop, it’s almost impossible to over- prepare. Having materials ready, processes streamlined, and clear steps in place made a huge difference when ten children needed support at the same time.

Finally, I saw the value of thoughtful simplification: reducing complexity without limiting imagination. For example, a limited colour palette encouraged more focused, inventive experimentation rather than restricting creative possibilities.  

Overall, the project deepened my connection to the Amgueddfa Lechi collection and strengthened my skills in collaboration, facilitation, and workshop design. It gave me new insight into balancing structure and freedom so participants can truly see themselves in what they create. 

The redevelopment project of the National Slate Museum is funded by the National Lottery Heritage Fund, UK Government via Gwynedd Council as part of the Llewyrch o’r Llechi project, Welsh Government including the Community Facilities programme, the Wolfson Foundation, The Garfield Weston Foundation, and other funders.

During Summer 2026 we invited two talented artists from the slate landscape areas, Jordan King and Ffion Pritchard, to our Collections Centre in Llandygai to begin a new project called Open Doors for Makers. The purpose of this project, as part of the wider redevelopment of the National Slate Museum, was to give local artists the opportunity to create creative works inspired by the slate landscape, and to encourage heritage themes within the local creative scene. It was also important for us to support the local creative sector through projects like this.  Emphasis was placed on making the project sustainable by ensuring that the materials used were ones that could be recycled, reused or repurposed.  Jordan and Ffion spent a full day in the Collections Centre being inspired by the National Slate Museum’s extensive collection. Over a period of two months, both artists completed the planning and creation of their artworks. Read more about their experiences below.

Jordan King – Jordan Christina Photography @jordanchristina_photography

My work specialises in photography and photo-based artworks; using mediums such as Welsh woollen threads, fibres and Welsh slate, these are sourced sustainably and as a bi product from the woollen and slate industries. Both working and living in an area from late quarrying heritage, I feel the use of slate in my work is paramount to emphasise the landscapes and the materials from the landscape. This is one thing that I like to carry throughout my artworks.

The main inspiration behind my 3D mixed media artwork was a quarryman’s helmet, described as a Cromwell protection safety helmet, from the National Slate Museum’s collection. This item is made of compressed cardboard. This item me the most inspiration and encouraged me to later decide on creating a single 3D piece, that also links several locations in the museum and objects to the one piece.

My creative approach to this process started off with the intention to create a mixed media artwork in my regular style, to work on a 2D photograph with 3D materials. This soon changed when I had the idea to create a physical 3D object, replicated with the method of paper mache. Once I had made the helmet shape with paper mache, I then painted the base and developed which photographs and materials I wanted to use on the exterior.

The inspiration for my choice of paint colours came from artist Ifor Pritchard and the publication “Craig Yr Oesoedd / True Grit” in which his artworks feature. The photographs I chose to display on the helmet were taken by myself on the “Silent Spaces” and “Hard Hat” tours at the National Slate Museum site in Llanberis and on invitation to the Collections Centre. Amongst the acknowledgement to the slate industry, there is also the

acknowledgement of the dangers of working in the quarries, but most importantly to Hugh Richard Jones who helped to ensure the opening of the museum we know today.

All the materials used for this project are as locally sourced and sustainable as possible. The main elements are as follows; recycled paper and card, locally sourced slate from Dyffryn Nantlle, Welsh tapestry material off cuts from Trefriw Woollen Mill and hand dyed woollen curls from Weki Wool.

Ffion Pritchard - @ffionartist

I’m a multidisciplinary artist who is passionate about stories, community and colour. Since graduating from the University of Brighton with a First Class Honours degree in Illustration, I’ve spent a decade working in television, design, fine art, participatory arts and support work, both in Wales and internationally.  This experimental work has led me into the world of art, health and wellbeing – where I use my passion for art, design and film to make meaningful change. I am currently studying for an MA in Art, Health and Wellbeing at the University of South Wales. Growing up in Gwynedd, it’s easy to take for granted the complex history – and also the beauty – of slate in the landscape. During my first degree, when moving away from home, I gained a new appreciation for this. It came to the forefront in my work as I experimented with painting and animating on slate through a unit exploring the history of my home through political struggle in the quarries.  

For the residency, I’ve been experimenting with photography, animation and writing. The film Marciau (“Marks”) was inspired by the idea of legacy – what we leave behind – and the sacrifice that creates a better world for future generations. In a completely different context, in the musical Hamilton, the main character wrestles with his need to leave a legacy throughout the drama. The ethical question running through it – “What is a legacy? It’s planting a seed in a garden you don’t get to see.” – is one I think about often, the bittersweet irony of sacrificing for a better world. This quote came to mind while browsing the museum’s collection of graffiti and marks left on Dinorwig quarry slate. These marks are a metaphor for the legacy that was left behind – the political struggle, the hard work and the oppression, as well as a glimpse into the social history of the quarry – the laughter and the characters. I am continuing to develop the film, adding a script and voiceover in the final version.  

If you would also like to be inspired by our collection, we run monthly tours around our Collections Centre where you can learn more about the redevelopment project, the process of moving our collection, and enjoy a unique opportunity to see our collection in a different environment before the Museum reopens. Click the link here to book your tickets!  

The redevelopment project is funded by The National Lottery Heritage Fund, UK Government via Gwynedd Council as part of the Llewyrch o’r Llechi project, Welsh Government including the Community Facilities Programme, the Wolfson Foundation, the Garfield Weston Foundation and other funders. We are deeply grateful to all our funders for their support.

Professor Plant here!

I hope you are enjoying your summer break or if you have already returned to school, I hope you are looking forward to participating in this year’s Spring Bulb Climate Investigation!

If you are looking for an exciting activity to do beforehand, take a look at our Wildlife Spotter and see what animals and critters you can find in your area!

Catch up soon!