Cregennan at Twilight  
2026  
Monoprint and Chine Collé on paper  
30x50cm

CARROLL, Moss, Cregennan at Twilight ©Moss Carroll

Descending Cadair Idris, following the trajectory of the sun as it falls, I find myself at the banks of Cregennan. As the sun drops over the Mawddach Estuary the remnants of cloud, who have trailed me since the summit, dissipate around me their fading whisps echoing the light which vanishes on the horizon.

The moments past, which rest in recollections form the wealth of a wanderer. Drops of gold as sunsets and coins of silver full moons, copper pennies of the earth once tread under foot. Traded in stories or hoarded as memories, the wealth of a wanderer fills no pockets, so bear only the weight of your heart and tread light, another horizon has yet to approach.

Sandby, a wanderer himself, crossing these landscapes of my home county, is similar to my own explorations across Eryri. Although these journeys are made over two hundred years apart, the act of walking, observing and documenting remains the same. Transient are our passages across these lands, but they remind us that we are part of something much greater.

Moss Carroll, born in Cardiff 1994 and raised in Eryri, is a printmaker and painter. Travelling and looking mainly to nature for inspiration, his work derives from direct personal experiences. He explores landscapes and transient moments of the elements through a semi-abstract lens. His work peels back the surface of his subjects, dissecting their colours and elements to create a vision which goes beyond the physical.

Exhibiting between the UK and Italy, he has works in the National Library of Wales collection and has studied with a scholarship Fondazione Il Bisonte in Florence.

Valle Crucis Abbey

Size of work: 53 x 38cm

Linocut print in six colours.

LEWIS, Ann, Valle Crucis Abbey ©Ann Lewis

Trying to convey the size of the ruin was so important – I felt so small there by myself!

I used orange as a ‘spot colour’. There was a spiritual (not religious) feel there, and somehow, the orange portrayed some sort of light above (which is difficult to explain). In addition, I hoped that choosing an unexpected, ‘modern’ colour would offer a contemporary nature to the image as a complete contrast to Sandby’s work.

LEWIS, Ann, Valle Crucis Abbey [linocut] ©Ann Lewis

LEWIS, Ann, Valle Crucis Abbey [process] ©Ann Lewis

Ann Lewis is a printmaker based in Denbigh. After a successful career as a freelance graphic designer & illustrator and then a web designer, she joined the Conwy Print Workshop in 1997. Ann has specialised in lino-cutting, and enjoys all stages of the printmaking process, from those initial scribbly sketches to cutting and printing. Twenty four years later, she is still learning, adapting her technique and discovering what it has to offer.

Autumn Light

Size of work - 40 x 75cm

KINGSTON, Sasha, Autumn Light ©

Sasha Kingston

During my MA in Constructed Textiles at the Royal College of Art, London, my work evolved through an intuitive exploration of mark-making, drawing, and material experimentation. Inspired by drawn marks and a fluid approach to changing mediums, my practice developed a strong emphasis on process and surface.

After returning to Wales in 2010, I established my studio in Penarth, where paper became a central material within my work. Its versatility and tactile qualities offered expansive visual possibilities, stimulating both imagination and experimentation. Documenting ideas through photography and sketchbook drawings, I extract inspiration from the local landscape and surrounding plant life.

This engagement with place has led to a distinct body of work characterised by monochromatic and earthy tones. Linear traces found within undergrowth are a recurring motif, reflected through irregular marks, layered lines, and textured surfaces. These elements capture a reflective journey that is fundamental to my practice, expressing an ongoing dialogue between material, landscape, and personal experience.

Autumn Light - oil colour, ink and graphite on paper. It evokes the warmth and depth of the season, grounding the work in natural tones. A dark linear plant print layered on top cuts through the surface creating contrast and echoing the fragile structure of nature as the light fades.

KINGSTON, Sasha, Autumn Light [detail] ©

Sasha Kingston

Long before the days of modern cold remedies, families turned to a humble piece of red fabric, believing it possessed remarkable healing properties. The practise was wonderfully simple. When someone developed a cold or sore throat, a piece of red flannel would be wrapped around their neck, sometimes warmed beforehand and often left in pace overnight. 

For chest complaints the fabric might be worn beneath clothing, close to the skin, while some people wore red flannel throughout the winter months in the hope of preventing illness altogether. 

Red flannel was also associated with remedies for rheumatism, muscular aches and other ailments. 

But why red? You’d think that any warm piece of wool would work.

The answer lies in a fascinating mixture of practical medicine, folklore and superstition. 

Throughout history, the colour red has been associated with warmth, blood, strength, vitality and protection. In traditional folk medicine, colours were sometimes believed to possess special powers, capable of influencing illness or driving away harmful forces. Red was considered particularly powerful. 

In medieval medicine, red cloth and furnishings were sometimes used in the treatment of diseases such as smallpox. It was believed that surrounding a patient with red could influence the course of the illness. 

Over time, such ideas became woven into everyday household remedies, with red threads, ribbons and pieces of cloth used to protect against various ailments. The red flannel remedy was therefore about more than keeping warm. For some, it was a way of wrapping themselves in protection against illness. 

Of course, there was also a more practical reason why flannel became such a popular choice. Wool is a remarkable natural fibre. It can help to regulate body temperature by insulating from the cold and it wicks away moisture to prevent chills from fever sweats. Woven into flannel, it provided a comfortable and practical material for clothing, bedding and wraps.

In Wales, flannel has a particularly rich history. For centuries, Welsh woollen mills produced flannel for clothing and everyday use, supplying both local communities and markets further afield. Red flannel was among the fabrics produced and sold. 

Today, we know that the colour red has no special ability to cure colds or prevent infections. Colds are caused by viruses, and wrapping ourselves in wool cannot make them disappear. Nevertheless, a warm woollen scarf can certainly provide comfort on a chilly winter’s day. 

The story of the red flannel remedy offers a wonderful glimpse into the lives of generations past. It reminds us of a time when home remedies were passed down through families, and when the warmth of a simple piece of wool could offer both physical comfort and reassurance. For the people who believed in its healing properties, red flannel represented something more than a piece of fabric. It was a symbol of care, protection and hope. 

And while we may no longer believe that red wool can cure the common cold, the comforting warmth of wool remains as welcome today as it was centuries ago. 

Valle Crucis and Pont y Pair

ABRAM, Andy, Valle Crucis ©Andy Abram

ABRAM, Andy, Pont y Pair ©Andy Abram

Two prints made in the photogravure technique of Valle Crucis and Pont y Pair.

Andy Abram's printmaking explores the ancient sites and landscapes in and around his home in the Carneddau Mountains in Eryri National Park, North Wales. Working from his own original photographs and drawings, he produces limited edition, multi-layer reduction linocuts and photogravure prints depicting the rich textures of the landscapes and sites that he takes inspiration from.

Eglwys Sant Baglan

BRASINGTON, Julian, Eglwys Sant Baglan ©Julian Brasington

This is a 14 x 20 cm linocut of Eglwys Sant Baglan, Llanfaglan, which I have pressed by hand to a 22 x 28 cm sheet of 250 gsm Somerset Satin paper. The ink used is Cranfield Seville Black Traditional Letterpress Ink (made in Wales).

Julian Brasington is an artist whose practice is rooted in drawing and informed by printmaking and writing. Working through sustained looking, his drawings allow forms to emerge, shift and remain unresolved, moving between figure, landscape and abstraction.

More than a century ago, Sir Ernest Shackleton, the celebrated Antarctic explorer, made a gift to the National Museum of Wales (as it was known then) of a King Penguin collected during his pioneering expedition to the Antarctic. 

But how did this extraordinary bird find its way to Wales?

An expedition into the unknown

In 1907, Ernest Shackleton set sail aboard the Nimrod, embarking on an ambitious expedition to explore the largely uncharted Antarctic continent. 

The British Antarctic Expedition of 1907-1909, better known as the Nimrod Expedition, would become one of the most celebrated voyages of the heroic age of Antarctic exploration. 

During the expedition Shackleton and his companions endured extreme temperatures, treacherous ice and unimaginable hardships. In January 1909, they reached within approximately 97 geographical miles of the South Pole, travelling further south than anyone before them. 

Although they did not reach the Pole itself, their achievements captured the imagination of the world. 

The expedition was about more than geographical records. Scientific research and the collection of natural history specimens were also important parts of the voyage, helping to expand knowledge of the Antarctic and its remarkable wildlife. 

Among the specimens associated with the expedition was a magnificent King Penguin, believed to have been collected on Macquarie Island, a remote sub-Antarctic island between New Zealand and Antarctica. 

A rather unusual request

On 16 March 1910, William Evans Hoyle, Director of the National Museum of Wales, wrote to Shakleton with a request. 

The museum was developing its natural history collections, and Hoyle hoped that the famous explorer might be willing to donate a specimen from his recent expedition. Remarkably, the explorer replied the very next day, on 17 March 1910, agreeing to present the museum with a King Penguin. 

Arrangements were made through Rowland Ward, the renowned London taxidermy firm, for the preserved bird to come to the national collection. It was a generous gesture from one of the most celebrated explorers of his generation, and one that would establish a lasting connection between Shackleton’s Antarctic adventures and Wales’s national collections. 

Even more remarkably, the original correspondence between Hoyle and Shackleton survives in the museum’s Natural History Archive, providing a fascinating glimpse into the story behind the donation. 

A Penguin takes centre stage

Standing approximately 90 centimetres tall, the preserved King Penguin became a remarkable addition to the museum’s growing natural history collections. 

In 1914, the bird was displayed at Cardiff City Hall as part of an Antarctic Exhibition alongside an Emperor Penguin. 

For visitors in Wales, the opportunity to see these extraordinary birds offered a glimpse into a distant world that few people could ever hope to experience for themselves. 

More than a century later, the bird remains an important part of the story of the museum’s collections, preserving a connection to one of the most remarkable periods in the history of exploration. 

A lasting legacy

Today, Shackleton’s King Penguin tells a story of courage, curiosity and the human desire to explore the unknown. It reminds us that museums play an important role as storehouses for biodiversity, keeping a record of a species over time, allowing generations of visitors and researchers to learn more about the natural world.

From the icy waters of the Southern Ocean to the museum collections of Amgueddfa Cymru, the journey of Shackleton’s penguin is a reminder that even the most unexpected objects can have extraordinary stories to tell. 

Now, more than 115 years after the generous donation, the penguin continues to connect Wales with one of the greatest adventures in the history of polar exploration as it makes its next journey from Cardiff to Swansea’s National Waterfront Museum.

Amgueddfa Cymru has a rich history researching sea life, starting with the work of William Evans Hoyle, our first director (1909-1924), and continuing with the work of our current curators and scientists. Hoyle focused his research on squid, octopus and cuttlefish (cephalopods), but since then the museum has been actively involved in understanding more about the diversity of life living in and on the seabed, a subject known as benthic biodiversity.

An important role of museums is to house and care for collections, and whilst some of these collections may be used in the galleries and exhibitions you see around you, others are utilised for different functions such as education and scientific research. Our collections are enhanced by our research activities and expertise, and this goes for the sea life collections housed in National Museum Cardiff.

The Museum holds a wide and diverse collection of marine invertebrates. These are animals in our oceans and seas without back bones, such as sea worms, shells, starfish, crabs, lobsters, corals, sea urchins and many more. Whilst most of our marine invertebrate collection is housed together, our extensive collection of molluscs (a group which includes clams, oysters, mussels, cephalopods to name a few) is housed separately and cared for by specific curators.

The Marine Invertebrate Collection comprises approximately 750, 000 specimens, and this number is continually growing through the museum’s own fieldwork and research, as well as donations. The collection represents many different groups of animals but over half is comprised of marine bristleworms, or polychaetes to give them their scientific name. Marine bristleworms , are segmented worms related to earthworms and leeches and are a vital part of seabed communities. The abundance of sea worms in our collections reflects our museum’s expertise but also the abundance of bristleworms occurring in seabed sediments, sometimes as many as 50–80% of the animals living there.

Most of our marine collections are preserved in fluid, usually industrial denatured alcohol (IDA) or ethanol, which prevents the specimens from rotting. Much of this material will have been additionally fixed before preservation using formaldehyde. However, we also have frozen tissue samples, used for DNA analysis (allowing us to see which species are more closely related to one another) and dry collections, the latter of which are predominantly collections of Crustacea (e.g., crabs and lobsters) and corals.

Most of the material in our collection is from the UK, and we house the largest collection of Welsh marine invertebrates in the world. Much of this material has been collected during years of seabed life surveys around the Welsh coast and Irish Sea by Museum staff. However, we also have specimens from over 60 different countries around the world, some arrived as donations, and some came from our own survey work in places such as the Seychelles, Hong Kong and the Falkland Islands. The donated material includes reference collections from oil and gas survey work and surveys monitoring the health of the seabed in the UK and around the world.

So why are our collections important, and why is it important to have so many specimens? Our collections are a unique record of which species lived in which habitat at any given time. This is important as it allows us to track changes which may occur as a response to climate or environmental change, pollution events or even transportation of alien or invasive species around the world, allowing us to assist in the protection of seabed life. We can also check any previous identifications that have been made by going back to the original samples, something that you would not be able to do just with the record itself. Our collections are also used by researchers and scientists to enhance their skills in identification and as part of the work describing other new species.

One of the most important uses of our collections is keeping safe the scientifically priceless specimens we call ‘types’. When a new species is discovered, described and named, the scientists in question choose a specimen that they say best represents the new species, and this specimen is then known as the holotype. These specimens are vitally important because they enable people across the world to know what the new species looks like in comparison to other species. Many museums across the world are depositories for type material and are entrusted to keep it safe but facilitate access to it for those who need to.

Our own curators and scientists use our collections too. Our expertise in the marine invertebrate section is in marine bristleworms and we have described over 35 new species since 2000. The collections allow us to compare similar species so that we can see when a species is new to science or a new record for a particular area. To do this work we employ drawing techniques, Scanning Electron Microscopy (which allows us to take images at high magnifications), photography and DNA analysis.

You can find out about some of our research on marine bristleworms in the following blogs:

• Uncovering new species
• Falkland Islands Marine Bristleworms
• A species new to science
• Shovel head worms from Wales to West Africa
• Unravelling a can of worms

So, next time you are in the main hall of National Museum Cardiff, think about the marine invertebrate collections beneath your feet and the importance they have in keeping our seabed habitats around Wales healthy. You may even find some of these collections in our displays and exhibitions. We used many of our bristleworm specimens in the touring exhibition ‘Wriggle! The Wonderful World of Worms’.

Neighbours: Borders, Bodies, Belonging, is a new exhibition curated by Peter Finnemore at Glynn Vivian Art Gallery.

FRANCIS, Kaylee, The View from Here, 2026 ©

Kaylee Francis

Alongside the exhibition Silvers of Space at Glynn Vivian Art Gallery, Finnemore has curated a companion exhibition, Neighbours: Borders, Boundaries and Bodies, presented in Rooms 8 and 9. Drawing on works from the collections of Amgueddfa Cymru, the National Library of Wales and Glynn Vivian Art Gallery, the exhibition brings together historic and modern works by artists including Robert Frank. These works are shown alongside selected contemporary artists from Wales and internationally.

Through this rich and varied selection, the exhibition explores themes of borders and belonging, the sublime and the everyday, domestic and working-class experience, and the ways in which time shapes our understanding of people and place. This exhibition is part of the CELF (national contemporary art gallery for Wales) project to share the national collections across Wales.

Together, Silvers of Space and Neighbours: Borders, Boundaries and Bodies offer a compelling and deeply personal examination of landscape, memory and belonging, revealing Finnemore's distinctive ability to connect intimate histories with broader social and cultural narratives.

Artists include Kathryn Ashill, Frank Brangwyn, Sebastian Bruno, Common Culture, Huw Alden Davies, Geraint Davies, Peter Finnemore, Kaylee Francis, Robert Frank, James Govier, Mohamed Hassan, Hannah Ijas, Alfred Janes, Glyn Jones, Lucia Jones, Thomas Jones, Gwen John, Marja Marlene Lechner, Joehari Lee, Kelly O’Brien, John Petherick, Jonathan Powell, Clémentine Schneidermann and Charlotte James, Evan Walters, Craig Wood, Tom Wood among others.

Neighbours: Borders, Boundaries and Belonging forms part of CELF, the National Contemporary Art Gallery for Wales initiative, which seeks to share the nation’s collections with audiences across Wales.

Neighbours: Borders, Boundaries and Belonging is at Glynn Vivian Art Gallery from 16 October 2026 until 3 January 2027. For more information please head to the Glynn Vivian Art Gallery website.

Aberfan60: Fragility and Strength

LENNON, Angela, Aberfan60: Fragility and Strength ©Angela Lennon

Creating an artwork for such a sensitive issue was probably the most difficult brief I have been asked to respond to. The families and small communities of the South Wales Valleys have had to find an inner strength to deal with tragedy. They were always tight-knit, but nothing compares to the strong bonds that they continue to display to this day.

People pull together through music, song, dance, sports activities and organising Charity events. They know how to support each other - finding reasons to celebrate, spending time together with family and friends, always putting each other first - creating times for fun and laughter; that’s not to say that the past has been forgotten, every day many hours are spent reflecting through quiet moments, such as chatting to a friend, walks up the mountains, visits to the memorials and gardens.

The artwork was created with this in mind by using mixed media to represent the many differing approaches that help people move forward through difficult times. The acrylics are hard wearing and permanent, the figures have been depicted in various degrees of faintness and solidity to represent the passing of time, the empty space around the two ladies on the bench suggests, something missing – loss; and finally the eggshell path portrays the road to recovery as being fragile, broken in places, but still continues never-the-less.

Angela Lennon has lived in the South Wales Valleys for over half a century, spending much of her life immersed in the unique surroundings that the coalfields, limestone quarries, waters and mountains impress upon, and dominate, the landscape. She has an emotional connection to the land with a deep understanding of the people, traditions and culture of the area.

The importance of family is high on the agenda and has always been put first, juggling night school and teaching in Penydarren Community Education as well as the local FE College at Merthyr Tydfil meant that the pursuit of her Creative Studies flourished throughout the decades.

Angela has forged many friendships along the way and built up a reputation striving to keep the art movement alive and inclusive, playing her part in carrying on the historical post-industrial legacy of The Dowlais Art Settlement. She remains a member of the Dowlais Visual Art Group who continuously produce, exhibit and share their work and culture.

Needless to say, Angela has works in many private collections with archived examples at Cyfarthfa Castle Museum & Gallery, with recent involvement working in partnership with Amgueddfa Cymru, Peoples Collection Wales and CELF she, along with the many skilled artists of the local area, have had works displayed along- side renowned artists such as: John Elwyn, Cedric Morris and Heinz Koppel, to name but a few.

to unload sacks of slurry carried from a day, a date, buried under its own pressure.        
It’s all there, in black and white; the photos, I think, you’ve seen.        
But then we went to Cardiff,        
to offload the intolerable.

Western Mail Archive, Mrs Kay Simmons, who lost a child in the Aberfan disaster 21 months ago, releases pent-up emotion and throws slurry over the foyer of the Government office - 20th July 1968 © Mirrorpix

From Mam’s hands to Granna’s voice: 

“I thought to myself: what were we doing here?” 

Not asked out of resignation, Granna says, having crossed the threshold, clutching suffocation, darting glances to the whites of culpability. 

“The instigator”, she calls him. 

Everything of that awful day returned, staring back from the shiny floor upon which, there and then, it seemed – to Granna - appropriate to let go. 

“He was horrified”, Granna said. “Most of us cried”. 

Other voices let him have it.        
George Thomas’ desk covered in muck. His car, too. It’s not the kind of stuff that washes out easily – a pit’s liquid darkening. 

I wonder how long it took them to clean up. Whether someone was sent for a bucket, whether the cleaners were told what had happened, whether the stains scarred the marble. I hope so. 

Not because a ruined floor could answer for what happened. 

Of course not. 

There is something comically inadequate about the prospect of mopping away what had been brought into that room. As though Aberfan were a matter of housekeeping. 

From the steps of the Welsh Office, Granna crash edits her own story: 

“And then, of course, that horrible day”. 

The worst day. 

“I was running everywhere that morning!”, Granna laughed. 

She’d been at Pantglas School at a quarter to nine to drop the children off in time for registration, before heading home on Ynysygored Road. 

“Then, when I went upstairs to the bedroom, the windows started rumbling”.

In Sunday best, says Granna, we went to Cardiff. 

“The children were so well behaved”.

Western Mail Archive, Aberfan mother protesters- 1968 © Mirrorpix

They were, after all, going on a big day out on the bus,       
unawares of the real reason for the journey down. 

They’re all, as I say, well turned out. 

That’s Granna, hidden behind Mrs Kay Simmonds, the woman making known her views. 

She lost two children. 

Out of shot is Grandad, all Brylcreem and sharp suited. Chris and dad in stripy t-shirts. Peering down, Claire. 

We went to Cardiff, some sixty years ago now. 

And then we went to Weston.

A letter arrives from a Cardiff solicitor. Dear Mr and Mrs Gerlach:

What a dismal little calculation, however courteous. The better the children became, the less their suffering counts. 

There it is. Recuperation, entered on the wrong side of the ledger. 

We/they went to Weston,        
Because the children had what the letters called ‘mild neuroses’.        
PTSD, perhaps, in today’s language. 

I half joke with dad that Weston-super-Mare is an odd geographical fix for trauma. It depends on what you’re trying to get away from, I suppose. 

We went back to Cardiff. Time and time again. 

For doctors’ appointments, meetings with lawyers, the slow administrative business of living after the mountain moved. Letters crossed the Severn for at least a decade after Tip No. 7 came down that October morning. A commotion of paper, diagnoses, claims. 

The debris travelled further than anyone imagined. 

The family archive, meanwhile, has acquired a geology of its own. A television listing for a tribute programme in 2006. A documentary on DVD that, for all the tears it prompted in its production, never made it to screen. A Dixons VHS, Aberfan 30 Years On, the label written, I think, in Grandad’s hand. 

Glossy paper, plastic, magnetic tape. Different deposits of the same October, accumulating in drawers, attics, the backs of minds. 

Who is expected to carry all this? 

We went to Cardiff to mark the 50th anniversary. 

Each decade seems to demand a drive over the bridge, a reckoning with that which exceeds recollection. A truce with the pain, a promise that this, fifty years on, is enough. Until it isn’t. 

Granna’s memory is not what it used to be. 

“So we went to Cardiff”. 

“Chris, do you remember going to Cardiff?”,        
Granna asks one Saturday afternoon at home. 

“I don’t remember anything about it, mam”. 

The conversation wanders,        
Granna has a couple more tries at the same question.        
We have a little giggle at Granna’s expense, but she knows, too,        
that it’s getting harder to recall. 

“Oh duw”. 

Her memory is not what it was.        
But 21 October draws out astonishing texture. 

Granna’s voice, its cadence,        
its gentleness,        
somehow able to carry the unbearable. 

It is the voice I love the most,        
but sometimes I catch myself listening        
for what it no longer says.

we went to Cardiff

In 1968, families from Aberfan travelled to the Welsh Office in Cardiff, carrying sacks of colliery waste to confront those in power with the material remains of the disaster.

Moving between 1966 and 2026, we went to Cardiff returns to one woman’s testimony: the author’s grandmother, whose recollections of the protest slip between the bus journey to Cardiff and the terrible morning of 21 October 1966.

Through fragments of official correspondence and the faltering intimacies of memory, the piece recovers something collective - a woman refusing silence. It attends, too, to the strange afterlives of catastrophe, from the bureaucratic calculation of suffering to the ordinary, exhausting work of carrying on.

Joe Gerlach is Professor of Cultural Geography at the University of Bristol. His research and writing explores the relations between geography and ethics. The son of an Aberfan survivor, he was born in Weston-super-Mare, where his family moved in the aftermath of the disaster.

Landmark      
2026   
Collage

LAMBIE, Grant, Landmark © Grant Lambie

This work is inspired from the work of James Rielly, ‘Partially Buried’ 2004.

The slag heap has been transformed into a mountain of collaged information about the origins of its existence (tip 7), from mine charts, geological maps and a cross-section plan of the area; all of which was produced before the disaster. The white house of Rielly has been rebuilt from an OS map showing the path of the liquidised slurry flow into Aberfan. Both the house and the slag heap are shown resting on top of another collage of post 1966, looking to a future, made from report covers of the Aberfan Disaster Fund, plans for the Community Centre and a plan for the In Memoriam.

The three collages interlock to give a timeframe of the events that changed the landscape so drastically 60 years ago. The title ‘Landmark’, reflects both the changes to the physical landscape, and the consequences of the disaster as a turning point for Aberfan.

LAMBIE, Grant, Landmark [detail] © Grant Lambie

LAMBIE, Grant, Landmark [detail] © Grant Lambie

Grant Lambie is a Cardiff based artist who works with geopolitical cartography and mapping. Exploring how map makers decide what becomes visible: such as contours and view-points, and what is invisible, such as locations of cars bombs or colonial expectations. His practice searches for the unseen, untold or covered-up histories, giving different relationships with space and time.

Grant makes new maps from old ones to deal with how land is used and mis-used, in three interlocking areas: historical perspectives, present practices; and futures projections.

The answer was often found in the colourful flags flying high above their ships.

For centuries, maritime flags have helped sailors communicate across oceans, overcoming language barriers and sharing important information through colours and patterns.

Five colours, countless messages

The International Code of Signals uses just five colours: red, blue, yellow, black and white.

Chosen for their visibility and contrasting combinations, these colours form distinctive patterns that allow ships to communicate messages without exchanging a single word.

Each flag represents a letter of the alphabet, but many also carry a specific meaning when flown individually.

Here are three examples:

🔴 Red – Bravo

A solid red flag warns that a vessel is carrying, loading or unloading dangerous goods.

🔵⚪ Blue and white – Alpha

This distinctive flag signals that a diver is working beneath the water and warns other vessels to keep clear and proceed slowly.

🔴🟡 Red and yellow – Oscar

Divided diagonally into red and yellow, this flag communicates one of the most urgent messages at sea: Man overboard!

Connecting Wales to the world

These colourful flags have a particular connection to Wales’s rich maritime history.

During the nineteenth century, Welsh ports such as Swansea, Cardiff, Porthmadog and Newport became bustling centres of international trade. Ships carried Welsh coal, copper and other goods to destinations across the globe, returning with cargoes, people and ideas that helped shape Welsh communities.

In these busy harbours, maritime flags were an important part of everyday life.

Ships displayed national ensigns and shipping company flags to identify themselves, while signal flags provided a shared means of communication between vessels whose crews might speak different languages.

From the copper ships of Swansea to the coal-carrying vessels of Cardiff, the maritime world relied on systems of communication that helped connect Wales with distant shores.

A tradition that continues today

Although modern ships now rely on radio, satellite navigation and digital technology, maritime signal flags remain in use.

Their bold colours and distinctive designs are a lasting reminder of the ingenuity of generations of seafarers.

And behind each flag is a story of communication, cooperation and the extraordinary connections made possible by the sea.

Next time you spot colourful flags flying from a ship, remember that you’re looking at a language that once helped connect Welsh ports with the rest of the world.

Yr Hyn Etifeddwn,         
2026.         
Print on cartridge paper and sugar paper.         
34cm x 22cm.

DAVENPORT, Gwenllian, Yr Hyn Etifeddwn © Gwenllian Davenport

Growing up in Merthyr, it's difficult to forget our past, the effects of heavy industry on our community and landscape are evident all around us. Everywhere you turn is a reminder of how Merthyr developed. 60 years since the Aberfan disaster, the effects are still felt today.

I was moved by the language in the report into the Aberfan disaster - phrases such as "the black river pours on" and "a forest of willing arms" - my aims were to translate these words and weave them back into the piece, reclaiming them within a narrative of care, instead of solely of disaster. The process of weaving draws on the idea of mending, not unlike the traditional Welsh blanket and its symbol of kindness during times of hardship.

By weaving the past with the present, my aim was to create a picture of hope, considering how memory, care and connection can continue to shape the future of our coalfield communities.

Gwenllian Davenport (she/her) is an artist living and working in Merthyr Tydfil. Her practice uses print, writing and materials that have been reworked to explore memory, language, landscape and the industrial history of south east Wales. Her work often combines archive imagery with contemporary materials, and considers how places and their histories are carried forward.

Most of the names are Welsh and they frequently originate from a nearby landscape feature e.g. Ffynnon y Gog – cuckoo spring, Dŵr Oer – cold water, Pompren – wooden bridge a Rhiw Gwreiddyn – hill of the root. Some of them have been named after a person such as Doctor Hughes, Chwarel Gethin – Gethin’s quarry, Mathew’s, Palmerston’s, Vivian and Hollands. Several of the names simply follow the name of the location or area where they reside such as Tal y Fan, Nantlle Vale, Hafod y Llan, Garreg Fawr and Deeside. It may be difficult to trace exactly why some quarries have been given a specific name, but the name itself is so well known that it is synonymous with a slate quarry even without the prefix ‘chwarel’ or quarry. We could refer to Dorothea, Glynrhonwy, Llechwedd, Prince of Wales and Alexandra in this regard.

More than anything, the wealth of quarry names present in various corners of Wales is testament to the sweat and labour expended by men to produce and export slate to the four corners of the world. Over the years historians and experts have recorded the majority of the quarries in various papers and books. The Slate Museum redevelopment project is keen to celebrate this wealth by carving as many names as possible into a slate path which will lead visitors to the gateway. After poring over various sources Museum staff have gathered a list of 196 names which include names from the area of the World Heritage Site in Northwest Wales in addition to Denbighshire, Pembrokeshire, Radnorshire and Carmarthenshire. However, we need to ensure that the path is as representative and comprehensive as possible and so we are calling on local knowledgeable people the length and breadth of Wales to contribute names of lesser-known quarries here:   
 

Contribute to our list of Welsh slate quarry names here - Google Forms

Find out more here - Our website 
 

This activity was a part of the National Slate Museum redevelopment project, which 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. 

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.

Gŵna fi fel pren planedig. (Make Me Like a Planted Tree, direct translation), is a major exhibition of new works by Montgomeryshire-based Welsh artist Christine Mills at Storiel.

MILLS, Christine, Gwna Fi Fel Pren Planedig © Christine Mills

Living and working on a sheep farm in rural Wales, Mills' practice responds directly to the landscape, community, and environment that surround her. As if emerging from the very ground on which it stands, this exhibition reflects both the agricultural and cultural landscapes from which it has grown, offering a roadmap of poignant metaphors through found objects and richly crafted felt structures.

Christine Mills studied at Central School of Art and Design, Goldsmiths College, and the Royal Drawing School in London. Her multidisciplinary practice spans drawing, sculpture, painting, film, and installation.

For this exhibition, Mills returns to felt, a material that has long underpinned her work and one that carries with it the land, labour, and culture of its origins. Through sculptural representations of homes, uprooted trees, and ladders reaching towards a greener future, Mills not only paints a picture of the world as she sees it, but also gestures towards the possibility of change.

Playful optimism is woven throughout these felt offerings. Thoughtful, humorous, and deeply rooted in place, the works invite us not only to follow Mills' interpretation of the world, but also to question our own place within it and our responsibility towards the home we all share.

Gŵna fi fel pren planedig. is at Storiel from 3 October until 24 December 2026. For more information please head to the Storiel website.

reimagining Gwen John: soft tissue at Plas Glyn-y-Weddw.

Since 2014, Anna Falcini has extensively researched the late Welsh artist, Gwen John (1876-1939) resulting in a fascinating dialogue through the archive about the female artistic experience.

In 2024 Anna was the recipient of a British Council Wales commission, part of the Wales/France Season, to develop work about John’s life in Paris, leading to a major new work “Methods to Speak” that was performed at the Musée Rodin, Meudon.

In ‘reimagining Gwen John: soft tissue’ Anna draws upon the inner worlds that occupied the late Welsh artist’s life in Paris, examining how the interface of her artistic and personal life often became entangled with the emotional intensities that John experienced.

Through her epistolary archive John reveals how her emotions are equally at play in her intimate, spiritual and animal relationships. She writes with the same passion about her cats as she does of her lover Auguste Rodin or her close female acquaintances. Where her intimate relationships falter, she turns towards God and lays bare her spiritual feelings. The importance of her cats is never in doubt as John contemplates in her letters how their characters are on a par with humans.

Historically, these expressions of intense emotions have been regarded as problematic and largely ‘overstated’1 to the detriment of John’s character. In re-examining these intensities, Falcini foregrounds how these emotional conflicts acted in parallel to John’s artistic life and were integral to a period of some of her most enduring and original works of art.

Provocations for new perspectives on this aspect of John’s life emerge through the materiality of fragile substances such as porcelain and fabric, the frivolous and decorative nature of a vermillion hairbow, or the actions of attending to the female body through the brushing of hair, realised through sculpture, performance, installation and watercolour drawings.

FALCINI, Anna, Study of 13 Unknown Girls © Anna Falcini, Photography by Simon Shaw

FALCINI, Anna, Child with a vermillion Bow © Anna Falcini

The performance has been commissioned by Plas Glyn-y-Weddw and CELF the national contemporary art gallery for Wales. The 4 watercolour studies, notebooks, diaries and 4 original works by Gwen John have been loaned by Amgueddfa Cymru - Museum Wales. Anna Falcini received a Create Award from Arts Council of Wales. In 2024, Falcini received a commission from British Council Wales for the Wales/France Season.

Events

Performance and Lobsgows by Anna Falcini.      
13.11.2026    
16:00-17:00 - Performance ‘A Cat or a Woman - an affair of volumes’             
We start the session with a special performance by Anna Falcini coinciding with her current exhibition 'reimagining Gwen John: soft tissue'      
18:00-19:30 - Peer to Peer Session            
Anna Falcini will discuss how the letters, notebooks and drawings of the artist Gwen John, are at the centre of her latest solo exhibition reimagining Gwen John: soft tissue. Anna shares how her research identified a recurrence of emotional intensities in John’s correspondence where John reveals how her emotions are equally at play in her intimate, spiritual and animal relationships.      
She writes with the same passion about her cats as she does of her lover Auguste Rodin or her close female acquaintances. Where her intimate relationships falter, she turns towards God and lays bare her spiritual feelings.      
Anna brings new readings of the archive and brings to the foreground these emotional conflicts through the materiality of fragile substances such as porcelain and fabric, the frivolous and decorative nature of a vermillion hairbow, or the actions of attending to the female body through the brushing of hair, realised through sculpture, performance, installation and watercolour drawings.      
LOBSGOWS is a special peer to peer series with an opportunity to have open discussions with artists in connection to work with Plas Glyn y Weddw. The group started as a result to the Eisteddfod Genedlaethol at Boduan in 2023.

Artist Talk: Anna Falcini        
14.11.2026    
1pm-3pm       
Free entry! Booking required.       
Anna Falcini discusses how the letters, notebooks and drawings of the artist Gwen John, are at the centre of her latest solo exhibition 'reimagining Gwen John: soft tissue'. A British Council Wales commission in 2024 to develop new work about John’s life in Paris, began a discovery of the inner worlds that occupied the late Welsh artist’s life in Paris tracing her spiritual, personal and non-human relationships.        
Falcini examined how the interface of John’s artistic and personal life became entangled with the emotional intensities that the artist experienced. Often regarded as problematic, Falcini reveals new readings and brings to the foreground these emotional conflicts that acted in parallel to John’s artistic life.        
In the talk, the artist will explore the provocations for new perspectives on this aspect of John’s life that emerge through the materiality of fragile substances such as porcelain and fabric, the frivolous and decorative nature of a vermillion hairbow, or the actions of attending to the female body through the brushing of hair, realised through sculpture, performance, installation and watercolour drawings.

reimagining Gwen John: soft tissue is at Plas Glyn-y-Weddw from 11 October until 24 December 2026. For more information please head to the Plas Glyn-y-Weddw website.

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.

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.

Denver Shai and Taiye Omokore were creative mentors for the project, and together with staff at the Library, selected Alice Thomas and Simon Turner to create 10 photographs each, showing people they wanted to see represented in the National Collection and add to the collective story of Wales.

The Women on Heol Maengwyn: No. 11 to No. 37 by Alice Thomas is a series of photographs showing women who run businesses on the High Street in Machynlleth, Powys. With mentorship from Denver Shai, Alice worked in film medium to create the images.

Alice Thomas: The Women on Heol Maengwyn: No. 11 to No. 37

This collection is a celebration of the diverse and wonderful women-led independent businesses on Machynlleth high street today.

As small Welsh towns go, there is something truly special and unique to be found in Machynlleth. The thriving and colourful high street represents the resilience and diversity of the community; a community centred around its collective love for the beautiful Dyfi valley.

When I began this project, I knew I wanted to capture this moment in Machynlleth’s long history as a busy market town. Deciding which element to focus on was a real challenge as there are many interesting and unique stories, community focused spaces and recognisable faces, all of whom contribute to Machynlleth’s own particular magic.

Working in the community I get to see many of these faces every day and, for me, it was clear from the start that I wanted to bring the women I witness to the forefront of this project. And, in speaking to them individually, it quickly became clear that I was not the only one to notice this remarkable collective from Number 11 to Number 37.

Here was a story to capture worthy of the National Library collection; a picture of women and independent business in Machynlleth and in mid Wales today.

Each of these women holds a rich and interesting history woven into this place and the community, many of whom approach their craft and business with a sustainable focus centred around community resilience.

These women have found themselves a home here serving the community through their skills, vision and creative endeavours.

These photographs are analogue medium format black and white film, shot on location with a Mamiya 645 using natural light. Despite the challenges this presented for me, I chose to use film to bring a timeless feel to these portraits.

Historically, women, particularly working women, have so often been left out of the picture so I wanted this collection to provide a contemporary take using a traditional medium.

Through these portraits I am inviting you to celebrate their achievements and the town of Machynlleth for supporting independent businesses that bring diversity, interest, health, craft and colour to Stryd Heol Maengwyn.

A statement by Denver Shai, Alice Thomas's mentor

THOMAS, Alice, Angie & Jon No. 11 Dyfi Wholefoods © The Artist

THOMAS, Alice, Sarah, Becky & Emma No. 13 Ty Medi © The Artist

THOMAS, Alice, Karen & Nelly No. 15 Karen Hind © The Artist

THOMAS, Alice, Grace No. 17 Tymhorau Cymru © The Artist

THOMAS, Alice, Ruth No. 19 Red Shoes LTD © The Artist

THOMAS, Alice, Katie No. 25 Gweithdy Tymhorau © The Artist

THOMAS, Alice, Rachel No. 27 Gweni Gwyllt © The Artist

THOMAS, Alice, Olly No. 29 Hermit Crab Coffee © The Artist

THOMAS, Alice, Steph No. 33 Lolfa 33 © The Artist

THOMAS, Alice, Elin No. 37 Elin Angharad © The Artist

The CELF commissions and The Women on Heol Maengwyn: No. 11 to No. 37 by Alice Thomas and Llwyndyrys Residential Home by Simon Turner will be on display at the National Library of Wales from March – September 2027. More information available soon.

Denver Shai and Taiye Omokore were creative mentors for the project, and together with staff at the Library, selected Alice Thomas and Simon Turner to create 10 photographs each, showing people they wanted to see represented in the National Collection and add to the collective story of Wales.

Llwyndyrys Residential Home by Simon Turner is a series of photos showing the residents of a care home in south Ceredigion. Simon created the series of images with mentorship from Taiye Omokore.

Simon Turner: Llwyndyrys Residential Home

This series of ten portraits explores identity, memory and presence. Working with elderly residents in a residential care home, I photographed each person alongside props and elements from their past that reflect their lives, experiences and sense of self. The portraits seek to move beyond assumptions associated with ageing and residential care, presenting each sitter with dignity and individuality. In doing so, the work offers visibility to people whose stories are rarely seen or heard beyond the walls of the care home, inviting viewers to recognise the richness of the lives behind each portrait.

TURNER, Simon, Dennis Lucas © The artist

92 years old.

Former insurance broker and photographer.

Worked for the Sun Newspaper amongst others.

TURNER, Simon, Janet Mathews © The Artist

88 years old. “Valley’s girl!” 

Factory worker making dart boards and mousetraps 

Loved doing girlfriends' hair for free. 

TURNER, Simon, Alfred Tubb © The Artist

80 years old. Born in Haifa, Israel. 

Musician, Classical composer and conductor  

Music Teacher

TURNER, Simon, Kenneth Greenhill © The Artist

90 years old. 

Married for 64 years  

Driving instructor, lover of colourful shirts! 

TURNER, Simon, June Palmer © The Artist

82 years old. 

Moved to Wales from London in 1968. 

Served as a WREN 

TURNER, Simon, Joan Howell © The Artist

100 years old this year.

Born in Llechryd, moved to London and returned to Llechryd.

TURNER, Simon, Tony Longly © The Artist

85 years old. 

Electrical Engineer with 3 patents to his name.  

Worked for MOD on bomb release mechanisms. 

Keen guitarist. 

TURNER, Simon, Raymond Evans © The Artist

72 years old. 

Born near Cardigan 

Joined circus at 15 and worked his life as a strong man but also elephant keeper and clown. 

TURNER, Simon, Sheila Hoare © The Artist

83 years old 

Born South England. 

Animal lover and keen writer. 

TURNER, Simon, Jim Brannan © The Artist

86 years old. 

Lived in Canada and South Africa. 

Agricultural engineer, T’ai Chi instructor, rugby player and latterly boat builder. 

The CELF commissions Llwyndyrys Residential Home by Simon Turner and The Women on Heol Maengwyn: No. 11 to No. 37 by Alice Thomas will be on display at the National Library of Wales from March – September 2027. More information available soon.

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.

The group meet every Tuesday with people from a range of backgrounds, experiences and education in art. It is free and runs on a voluntary basis. Group members arrive when they can, usually around 1pm, to draw independently around the Museum then meet in the Main Hall Cafe at 2-2.15pm to share and discuss their work and latest muses. The group shares their work on Instagram @cardiffmuseumdrawing .

As a group, we enjoy learning from each other, observing the different styles and mediums used as well as comparing different ways to view the pictures, sculptures, ceramics and other objects within the National Collections held at the Museum. On occasions we have made special excursions down into the Museum’s Vertebrate, Entomology, Molluscs and Art stores and climbed the heights to the library to sketch items not usually available to the general public.

We welcome new group members and visitors to join us on a Tuesday! Do your own thing in or around the Museum and meet us in the Cafe!

Bev Sarin

My study is of Brenda Chamberlain’s oil painting, ‘Girl with a Siamese Cat’ (1951). I was drawn to this painting as it represents a snap shot of a real social relationship. The subject was Chamberlain’s neighbour, the background represents the landscape of Bardsey Island where the painter lived and worked. I love the fact that this represents a portrait of an ordinary person, raising her to a level of importance by immortalising her. This painting was awarded the first Gold Medal Award for Fine Art at the National Eisteddfod. It is a real piece of Welsh history.

I used Inktense watercolour paint as it is permanent once dry. This enabled me to work in layers over time as it took several visits to complete. I enjoyed spending time exploring the details of the picture whilst I built up my study.

I have been a member of the Drawing group since it began. I didn’t have a background in art but am a visual person, using drawing to learn and teach, so the opportunity to practice and develop my drawing skills within this supportive group and fantastic environment is fantastic.

Corinna Martin

I joined the Cardiff museum drawing group after the pandemic. I completed an art foundation course in my youth and was encouraged by my art teacher mum to continue drawing and painting, more so now that I’m retired. I jumped at the chance to meet up with equally arty minded people on a casual yet regular basis. Currently I use soft coloured pencils, charcoal, graphite, often on toned paper, but I’m not averse to watercolours or acrylics. I would recommend anyone to have a go, even if you think you ‘can’t draw”, because the museum is full of inspiration and surprises. I was drawn to this intriguing figure, Hats and Horns, by Laura Ford because of its odd shapes, textures, colours and its reference to often stereotypical perceptions of Welsh identity. This figure always makes visitors comment.

Julia Allen

Drawing a 1912 bronze sculpture by Alexander Archipenko titled “Madonna of the rocks” February 2025 Drawing this sculpture revealed the figure’s details, something I likely wouldn’t have remembered without recording it in graphite and chalk. Reading about the Ukrainian-born sculptor deepened my appreciation for his abstract yet clear depiction of the subject. Drawing from life was far more enjoyable than from photographs. The stark contrast of the very dark polished bronze allowed me to see details my phone camera couldn’t. I probably spent about three to four hours on this drawing over two weeks. Starting off with a basic sketch and then getting more involved with the tone. Since 2019, Tuesday lunchtime drawing sessions have been enjoyable. The diverse group of attendees is always inspiring. Taking time to closely observe something is a pleasure, even when the drawing doesn’t turn out perfectly. I always learn something new.

Linda Evans

I joined the friendly and informal Cardiff Museum Drawing Group many years ago and have enjoyed the chat, inspiration and company of such diverse artists. My own interests include optical illusions, experimenting with geometry, collage and cardboard constructions! When sketching, I like to explore unexpected angles and compositions, playing with depth and space, distorted perspective and multiple viewpoints. My own interests include optical illusions, experimenting with geometry, collage and cardboard constructions! When sketching, I like to explore unexpected angles and compositions, playing with depth and space, distorted perspective and multiple viewpoints.

We live in a 3D world, but will flatten this into 2D when making drawings and paintings.

At the museum, I am currently looking at the work of the Welsh artist George Poole. There are three of his paintings on display which hold my attention and intrigue me with the strange way he shows space and distance. His layering of foreground, mid ground and background remind me of theatre design.

So, using pastels, charcoal, pencils and pens, I’ve made a version of George Poole’s image “Welsh Miners Morning Shift” (1953) By drawing each element separately, cutting them out, then reassembling the pieces as overlapping layers inside a box, a “hybrid” theatrical stage-set effect is created (from 2D into partial 3D).

Mike Jones

For me sketching is a way of better seeing a piece of art. It forces you to look closely at the different elements. Sketching is like doing exercise, the more you do the better you get. Joining a group was a way of me practicing drawing more, a bit like going to a gym. Just having a routine has helped so much with mental wellbeing too.

One of the best parts of the group is seeing other people’s work. They will look at the same piece of art you sketched and do it in a different medium; in different light; from a different angle or emphasising a quality about it you missed. It’s not competitive, we all have good days and bad days, everyone’s views and drawings are valid. But it can certainly inspire you revisit a piece with fresh eyes.

I like to try lots of different mediums, you really do not need expensive equipment. Using everyday items like biros or markers is freeing for me. It’s not about trying to get a photorealistic drawing. Especially doing a loose scribble sort of image rather than a precious tightly worked laboured piece. It’s about having fun and exploring.

Sarah Hannis

I was drawn to this extraordinary graceful form with it’s contrasting colours. I used pencil, pen, a bit of white wax crayon (for the highlights) and watercolour for this 15 minute sketch. I often skip the pencil stage, but its good for making initial marks and checking you can fit everything you want onto the page. The museum drawing group allows me to dedicate a fun hour to practising sketching exhibits. I like to do quick sketches of things as it helps me notice the details and remember them much better than just looking or taking a photo. My advice is to grab some scrap paper and a pencil or biro and just have a go. Don’t be afraid of the blank page or what you, or others might think of the result, just start making marks and see where it takes you. Good luck!

Sian Williams

Soft paste porcelain figures by Sophie Woodrow . I was instantly drawn to Sophie Woodrow's collection of white porcelain figure, they feel strange and magical to me. In my sketch I have tried to capture the delicacy of these figures. Using a toned sketchbook, I used a soft white watercolour pencil as a base for the figures and a grey fine liner to represent the shadows and show the details. Finally, a white gel pen to highlight reflections . Joining the museum drawing group has helped me keep-up a regular sketching habit. When I have the time, I know that there will be others at the museum on a Tuesday lunch time to talk about drawing, drawing materials, creative inspiration or just have a general chat over coffee. This motivates me to continue my creative practice and keep filling my sketchbook.

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! 

FFYNNU Celf is a new artist residency programme developed by Plas Glyn-y-Weddw in partnership with GwyrddNi, supporting artists to explore climate change, ecology and climate justice through creative practice in north Wales.

Four paid residencies will take place between September 2026 and March 2027, offering artists time, space, mentoring and professional development to research, experiment and develop their practice within the unique landscape and communities of Pen Llŷn. The residency is open to artists living and working in Wales, with two places reserved for artists based in north Wales.

The selected artists will receive:

• £3,500 artist fee
• £500 materials budget
• Travel, accommodation & daily subsistence covered
• Mentoring & professional development
• 14 flexible residency days
• Applications close at 11pm on 4 September 2026

For full application guidelines and details on how to apply, please go to the Plas Glyn-y-Weddw website.

Closing date: 04/09/2026

One of the most special things about St Fagans is the variety of buildings and exhibits, we therefore decided to turn the museum shop into one inspired by a department store. Rather than traditional departments such as toys or food, each area of our shop represents a different building or exhibit from across the museum. We have even created a soundscape so visitors can hear the noises of the school playground, farm or sweet shop as they shop from those department.

Working with many local and Welsh suppliers, we have created over 230 new products inspired by the museum. They are packed with stories; from cakes made by the relatives of the original Gwalia Stores baker to an unfinished patchwork from the collection that has inspired a range of handbags and purses. From love spoons to Welsh cakes, items handmade by our craftspeople to school stationery, the shop is an experience in itself. 

We hope visitors will be able to enjoy the museum shop as a ‘best of’ experience; all the highlights of a visit to St Fagans represented through a huge variety of products, and what’s better, every purchase supports the museum.

It’s not just the museum shop that we have been developing though, over at Siop Losin we have created a 1920s inspired period shopping experience. Visitors can now admire the 1920s inspired displays, meet staff in costume and choose from a huge selection of traditional sweets that are weighed out in front of their very eyes! The smells, sights and sound of the past have been recreated through historical research, and we’ve worked with small artisan and Welsh businesses to allow visitors to taste the past now too! The packaging and designs of the products are all inspired by 1920s confectionery and a Siop Losin tote bag has become a sought-after item.

We hope you’ll be able to join us for a fun day out across the summer and call by Siop Losin and the museum shop to experience a taste of the past!

O'CONNELL, Lily, Victoria Road ©Lily O'Connell

‘Victoria Road’ is a Drypoint print made in response to L.S Lowry’s ‘Six Bells, Abertillery, South Wales’. I chose to respond to this piece, as it’s a view I used to see daily when I lived in Six Bells. I worked from a photo taken from the street I lived on (Victoria Road). Although the village and landscape have changed since Lowry painted it, the three distinct hills and the curved train tracks make it instantly recognisable.

This print was made using two Drypoint plates, the first plate was used to apply loose strokes of colour inspired by Lowry’s painting style and the second for the finer details and black lines.

Lily O’Connell is an emerging printmaker based in Cardiff, currently working as a print technician within education in South Wales. She received her master’s in fine art at Cardiff Metropolitan University in 2025.

Lily’s practice combines geometric abstraction and colour theory with a methodical way of working. Using codes and systems throughout her processes, she produces modular works through cutting, layering, and a variety of print techniques.

She has exhibited across the UK, with her most recent work exhibited in New Printmaking at Ruthin Craft Centre in 2026.

Mini Residency: Derw Bach Preschool artist in residence with Sue Hunt at Oriel Davies Gallery.

“I like making things with the leaves”

“I liked squishing the clay”

“I liked making lots of things”

Derw Bach preschool worked with artist in residence Sue Hunt at the Nursery, at Oriel Davies Gallery and in Newtown’s parkland. Children took inspiration from paintings on loan from the Contemporary Collection, National Museum Cardiff.

Funding for the residency from CELF: national contemporary art gallery for Wales enabled the Artist, Gallery and Preschool to build a relationship whilst embarking on the residency.

Derw Bach Preschool is within walking distance of the Gallery and are regular visitors, always returning to the setting to respond to what they have seen in our exhibitions.

We made two visits to Derw Bach beforehand and met online with Sue to discuss content and plans. We learnt where children were at with learning and development and how preschool staff create a nurturing, safe, inspiring environment where activities are child led.

“More children are now taking part in creative activities including those who were previously not interested, some transferring skills/knowledge to woodwork and mark making and outdoor play”

Sarah Rowlands Preschool Manager

Sue Hunt is a painter based in Cardiff and showed work in our exhibition Dialogue as part of the CELF exhibition with other contemporary Welsh artists and loans from the Davies Collection and Contemporary Collection , National Museum and Art Gallery of Wales in Cardiff.

Sue's generous and considered approach to the residency enabled children to explore and experiment with new and inclusive processes. There was no right way of doing things, every creative contribution was valued and celebrated.

“The children have developed skills not only with expressive arts but also in language, personal and social, numeracy, health and well-being, science and understanding of the world”

Sarah Rowlands Preschool Manager

The residency was captured by photographer Grace Springer and designs for our outside exhibition space created by Joby of Colour Format. Welshpool Print Group printed the designs at large scale.

Mini Residency: Derw Bach Preschool artist in residence with Sue Hunt took place at Oriel Davies Gallery in January and July 2026. For more information please head to the Oriel Davies Gallery website.

Our marine biologists, the museum scientists who study the life within the sea, have set you a challenge to see if you can find 16 objects at the seaside. Fancy giving it a go?

See if you can find and photograph all of these objects. Some may be more familiar to you, but some are not so obvious. To help our scientists have shared the results of their last visit to the beach to give you a helping hand [Bingo answers]. They have also prepared some spotter’s sheets that you can print out and take with you when you go to help you spot the things on the shore: 

https://museum.wales/media/52516/10SG-Treasures-of-the-Strandline.pdf

https://museum.wales/media/51467/08SG-Spotting-Seaweeds-in-Wales-reds-and-greens.pdf

https://museum.wales/media/52514/09SG-Common-Seashells.pdf

https://museum.wales/media/51473/03SG-Have-I-found-a-fossil.pdf

https://museum.wales/media/51468/07SG-Spotting-Seaweeds-in-Wales-brown-seaweeds.pdf

There are a few that are a little bit harder than others to spot, so our marine biologists have given you some helpful tips;

Hornwrack

Hornwrack may look like seaweed but it is actually a bryozoan moss animal! They are made up of a colony of tiny individuals called zooids, which you may be able to see using a magnifying glass. Find pieces washed ashore on the strandline.

Efallai bod gwymon corniog yn edrych fel gwymon ond mewn gwirionedd yr hyn ydyw yw anifail mwsogl bryosoaidd! Cytref o unigolion bychan bach o’r enw sõoidau ydyn nhw, y mae’n bosib y byddwch chi’n gallu eu gweld drwy ddefnyddio sbienddrych. Dewch o hyd i ddarnau wedi eu golchi i’r lan ar ymyl y traeth.

Thrift

Thrift is a plant that is called Clustog Fair in Welsh, or Mary’s Pillow. The plants grow in small mounds that look like cushions at the top of the shore. 

Yr enw Cymraeg ar Thrift yw Clustog Fair. Mae’r planhigion yn tyfu mewn twmpathau bach sy’n edrych fel clustogau.

Barnacle

You can find barnacles attached to rocks at the beach. They may look like shells, but did you know that they are related to crabs and lobsters! Rather than using their feet to walk, they actually use them to gather food from the water column. Most of the barnacles you see are pretty small, but we have some whale barnacles in the collections at National Museum Cardiff. They came off the Humpback Whale that is on display and they are a lot bigger, almost the size of a human fist!

Starfish

There are several different types (species) of starfish you might see at the beach. The most common one to find is the Common Starfish, which is reddish/orange in colour. However, you might come across a spiny starfish, a sand starfish or even brittlestars, which have very delicate legs. There are even some very small starfish called cushion stars, which you might see stuck on rocks. They take some finding though as they are not very big at all. Next time you see a starfish, count how many legs they have. 

Lugworms

We might all be familiar with the squiggles of sand that you see on a sandy beach. These are called lugworm casts, and they are actually worm “poo”. They are left behind after a lugworm, a type of marine bristleworm, has consumed lots of sand. However, there are actually a couple of different types of lugworms in South Wales, and you can tell them apart from the shape of the cast they make! The blow lugworm has very messy casts whilst the black lugworm has very neat and tidy casts.

Honeycomb worms

Have you seen this strange honeycomb like structure covering rocks near a sandy beach? Well, this has been made by the Honeycomb Worm. Each opening is the home of one worm and they build this reef-like structure together. It’s really important that we try to look after the reefs and to not tread on them as we walk over the rocks. 

Remember if you do go out on the beach be safe (RNLI Beach Safety – Top Five Tips To Stay Safe By The Sea) and follow the seashore code (Seashore code-web.pdf)., Respect | Wild Seas Wales 

On Wednesday 12^th  August 2026, people in Wales will be able to see a partial solar eclipse. This is where around 90% of the Sun will be covered by the Moon.  

National Museum Cardiff will be opening late on the 12^th August to celebrate the eclipse. To help you view it safely, we will be making eclipse viewers in the Clore Discovery Centre throughout the day out of cereal boxes. Why not bring along a cereal box and turn it into your own scientific instrument? Tickets to this event are free and can be booked from our website - Museum Lates: Solar Eclipse.

What is a solar eclipse?  

A solar eclipse occurs when the Earth, Moon and Sun align. The Moon passes in front of the Sun and blocks its light, casting a small shadow on Earth. As the shadow is quite small compared to the size of the Earth, only a few countries see the eclipse. 

An eclipse’s ‘path of totality’ is a thick line (shown in red on the map of the globe) where viewers are fully in the Moon’s shadow. These people will see a total eclipse. 

On the 12 August, the path of totality falls over Greenland, Iceland and Spain. People in the UK, France, Belgium, Switzerland and northern Italy will see a partial eclipse, where a portion of the Sun (90%) is covered by the Moon. 

For Wales, it will be as close to a total eclipse as we’ve seen in 27 years! 

Historical eclipses in Wales 

Total solar eclipses are very rare in Wales but there are records of them. The last one was in June 1927, but the weather was bad with dark clouds and heavy rain.  

For the eclipse of 1836, Wales fared better. The following poetic report appeared in Y Seren Ogleddol (The Western Star) afterwards. The original inhabitants of the Rhyd y Car cottages and Cilewent Farmhouse at St Fagans National Museum of History would have witnessed this eclipse in much the same way as this writer. 

DIFFYG AR YR HAUL

Cymerodd y peth anarferol hwn le, Sabbath y 15 o Fai, yn union yn yr amser. Mewn rhai mannau yn y dywysogaeth, dywedir bod y brain yn mynd i'w coedwigoedd, yr adar yn mynd i'w nythod, a'r ystlum yn dangos ei hun; yr ieir yn chwilio am eu clwydau. Yr oedd natur wedi llawn prydferthwch, felpetai wedi ei daro â syndod a rhyfeddod; yr awyr yn oer a thywyll, fel pe bai rhywbeth annormal yn dod i'r ddaear; ac wedi i'r gwanwyn godi, dyma natur yn codi o farwolaeth i fyw, yr ystlumod yn dianc i'w tyllau, a'r adarbach yn canu'n hapus i'w Creawdwr, a phob peth yn edrych mor brydferth a dymunol a cynharach. 

SOLAR ECLIPSE

This unusual event took place on Sabbath, 15th May, exactly at that time. In some parts of the county, it is said that the crows went to their woods, the birds went to their nests, and the bats appeared; the hens went to roost. Nature that was full of beauty, appeared as if struck with wonder and amazement; the air was cold and dark, as if something abnormal was coming to the earth; and after the sun reappeared, nature arose from death to life, the bats escaped to their holes, and the little birds sang happily to their Creator, and everything looked as beautiful and pleasant as before.

What will happen on 12^th August 2026?  

6.17pm (Cardiff): The Moon will first cover part of the disk of the Sun.  

The Moon will move slowly in front of the Sun until roughly 90% of the Sun is covered.  

7.12pm (Cardiff): The eclipse maximum, where enough of the Sun will be covered to make a noticeable difference in the temperature and light levels. The sky will not actually become dark.  

After the maximum, the Moon will slowly move off the Sun’s disk until only a small sliver remains. 

8.06pm (Cardiff): the eclipse ends. 

As this will happen as the Sun is setting, the Sun and Moon will become increasingly low on the horizon as the eclipse goes on. The best way to see the eclipse will be from a high point with a clear view of the western horizon. We can only cross our fingers for cloudless skies! 

Your view will also depend on where you are in Wales – Pembrokeshire will have the best views. There 94% of the Sun will be covered by the Moon.  

If you’re planning to view the eclipse on the 12^th August, why not visit Helios for a close-up view of the Sun beforehand to discover what the Sun looks like up close?

Composite image of eclipse from NASA’s Johnson Space Center in Houston, 21st August 2017. NASA Image and Video Library.

How to view a solar eclipse  

You should never look directly at the Sun, even during an eclipse. Doing so can severely damage your eyes.  

We will be making eclipse viewers throughout the day on the 12^th August so why not come along to make your own. 

You can safely watch the 12th August partial solar eclipse using:  

1. Eclipse glasses – Special eclipse glasses can block out the Sun’s harmful rays and enable you to look at the eclipse safely. Normal sunglasses are not safe to use! Make sure your eclipse glasses have safety certification ‘ISO 12312-2' printed on them. Don’t reuse any old eclipse glasses: they may not be safe. Even a microscopic scratch in the lenses could damage your eyesight.

Eclipse Glasses, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons

2. A solar telescope – Check with your local astronomical society to see if they’re running any eclipse-viewing events on 12 August. They may have a few telescopes fitted with special solar filters, which are safe to use to observe the Sun. you should never use normal telescopes or binoculars to look at the Sun.  

3. Make a pinhole projector – There are a few ways you can make a ‘pinhole projector’, which will allow you to see the eclipse by projecting the Sun’s light, and the bite being taken out of it, onto another surface. Try this one: Make your own pinhole camera | The Schools' Observatory. You can even use a kitchen colander to project an image of the eclipse safely on the ground!  

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Book your free tickets here - Museum Lates: Solar Eclipse

When Hywel Squires, Senior Engagement Coordinator at Amgueddfa Cymru, selected me as a Community Curator for the REACH project, I knew it was a rare opportunity.

Helping develop an exhibition at St Fagans National Museum of History, one of the UK's most respected living museums, isn't something you take lightly. It's also an experience that stays with you.

Why this work matters to me

My work as a curator comes from a simple belief: objects help people find connections across cultures and communities. That belief is also shaping something I'm building closer to home: Earthen Acres CIC, a community interest company through which I'm working towards opening a nature museum in South Wales. Everything I learn here feeds into that vision.

What I focused on

My curatorial interests kept returning to four areas:

Objects with meaning
Everyday items can tell powerful stories. I wanted to help present artefacts in ways that show how they were used, valued and passed on by real people.

Craft and hands
Traditional skills deserve recognition, as do the people who keep them alive. I wanted visitors to appreciate the time, care and expertise behind the objects on display.

Visitor voice
Museums work best when people feel part of the conversation. I explored ways for visitors to share stories, contribute ideas and give feedback so their experiences become part of the wider story.

A lasting record
I was interested in how community voices can be recorded and preserved, becoming part of the museum's ongoing work rather than existing only for the duration of an exhibition.

The collection itself

I won't spoil what's coming, but getting access to the storehouses and seeing selected objects up close has been one of the highlights of my recent working life.

The harp collection at St Fagans stopped me in my tracks, and that was only a small glimpse of what is held across Amgueddfa Cymru's seven museums and five million objects.

Researching the histories of objects and seeing how knowledge is shared between different teams has been fascinating. Everyone I worked with was generous with their time, happy to answer questions, and keen to connect me with the right people. It's an approach to collaboration that I hope to carry into my own organisation.

Access and sustainability: small changes, real impact

Good museums keep listening to the people who use them. I suggested a number of practical changes, including reducing glare in some spaces, creating quieter zones, and providing waiting areas that still offer opportunities for engagement.

These are relatively modest adjustments, but they can make a significant difference to visitors' experiences.

Sustainability also featured in many conversations. Learning about how St Fagans manages its woodland and uses timber grown on site reinforced my view that museums can play an important role in demonstrating environmental responsibility through everyday practice.

How this team worked

The REACH exhibition team brought together people with different backgrounds, experiences and needs. Hywel worked hard to make sure everyone could contribute, making use of facilities already available at St Fagans, including quieter spaces, low-lit rooms, a prayer room, and flexibility in how people took part.

That thoughtful approach helped create an environment where people felt comfortable contributing their skills and ideas, and I think the exhibition is stronger because of it.

Looking ahead

This experience has given me a much clearer understanding of how museums operate. I've learned more about collections care, community engagement, sustainability and accessibility, and how these different areas connect with one another.

I joined the project as a community curator and leave it with a deeper appreciation of the people, knowledge and work that sit behind every exhibition.

If you'd like to get involved as a volunteer at Amgueddfa Cymru, please visit: Get Involved | Museum Wales or email: volunteering@museumwales.ac.uk.

Keep an eye out for others upcoming blogs, showcasing the amazing work that’s been happening across all our participating communities. 

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. 

Max Boyce ‘Ode to Barry Island’

Traditionally, the last week of July and the first week of August was known as ‘Miners’ Fortnight’. Between the 1940s and 1970s there was a mass exodus from the coalfields to the coast, especially the seaside towns of Barry and Porthcawl.

The miners had fought for holidays from the late 19^th century. Between 1888 and 1898, a day’s holiday was secured by the Welsh miners’ leader, William Abraham (known by his bardic name Mabon). Known as ‘St. Mabon’s Day’ this holiday every month was designed to give the coal miner a day away from their usual heavy labour.  On these days large Eisteddfodau were held in places such as Blaenafon, Risca, and the Rhondda. This holiday had to be given up following the bitter coal strike and lockout of 1898 when the owners forced the men to give the day up.  Following this set back,  miners had to take unpaid leave, in fact, in 1924, a Government Report stated that ‘in no case apart from officials and clerical staff, is any payment to be made for holidays either public or otherwise in the mining industry.

In the 1920s and 1930s, it was usual for miners’ families to camp out in places like the dunes in Porthcawl.  They used large ex-Army tents and transported furniture from their houses for the length of the school holidays.  The husbands worked during the week and travelled down to their families on the weekend.

In 1938 a Holiday with Pay Act was passed by the government which gave employees a statutory right to paid holidays.  By the 1940s, miners were entitled to two weeks paid holidays. This occurred the last week of July and the first week of August and coal mines and factories would halt production for two weeks, however many men volunteered for essential safety and maintenance work and received extra pay for their sacrifice.

The two major resorts in south Wales were Barry and Porthcawl , as well as Aberavon Beach and Tenby, although Tenby was regarded as more ‘middle class’. In north Wales, miners occupied places such as Prestatyn. Families flocked to occupy every caravan and guest house in these resorts – Porthcawl was known as ‘Hiyabutt Bay’ because of the number of miners there on holiday. In these places there were fairgrounds, boxing booths, a beach and, in Barry, there was the famous Butlins Holiday Camp. As well as beaches and activities these places were connected to the coal field towns and villages by the same rail network that usually carried coal down to the docks.

By the 1970s there were as many factory workers as miners on the beaches and the holidays later became known as ‘Factory Fortnight’.

By the late 1970s, many families, often entire streets, swapped the Welsh resorts for Spanish ones although Porthcawl and Barry still catered for ‘day trippers’ as well as the more traditional beach holidays.

Although I had given up on a fortnight in Porthcawl by the 1970s, I still found the paid two weeks useful. As with many others, weddings were arranged for the end of July so that the happy couple could enjoy a two week honeymoon.

Ceri Thompson

Curator

Big Pit: national Coal Museum

Photographs © David Hurn / Magnum Photos / Amgueddfa Cymru - Museum Wales

‘Moment’ - A moment in time, Tudweiliog and its community. Spring 2026. by Anna Higson at Plas Glyn-y-Weddw.

‘Moment’ is artist Anna Higson’s response to the work of photojournalist Geoff Charles, whose photographs documented rural life in Wales between the 1930s and the 1970s.

This commission was made possible through funding from the Welsh Government’s CELF project, which has led to the formation of a network of galleries aimed at bringing Wales’s contemporary art collection out into the community.

HIGSON, Anna, Moment © Anna Higson / Plas Glyn-y-Weddw

HIGSON, Anna, Moment © Anna Higson / Plas Glyn-y-Weddw

Currently, an exhibition featuring images from the vast Geoff Charles collection held at the National Library of Wales -alongside a screening of the film ‘Yr Etifeddiaeth’ (The Heritage), created with John Roberts Williams in 1949 - is being held at the Plas, supported by the CELF initiative.

While working on the commission, Anna visited the National Library in Aberystwyth and watched ‘Yr Etifeddiaeth’ before creating this special work, focusing on the rural community of Tudweiliog on the northern coast of the Llŷn Peninsula.

HIGSON, Anna, Moment © Anna Higson / Plas Glyn-y-Weddw

HIGSON, Anna, Moment © Anna Higson / Plas Glyn-y-Weddw

Based in Boduan, near Pwllheli, Anna is a multidisciplinary artist who has developed a deep admiration for her local community over the years - an appreciation nurtured by her numerous travels in Mexico.

“I have drawn deep inspiration from communities, vibrant traditions, and carnivals in Mexico during the years I have spent travelling there. I am fascinated by the intersection of these Mexican influences with the stories and significant figures of my own community,” she explained.

‘Moment’ - A moment in time, Tudweiliog and its community. Spring 2026. by Anna Higson is at Plas Glyn-y-Weddw from 22 July - 4 October 2026. For more information please head to the Plas Glyn-y-Weddw's website.

Rural Life in Llŷn and Eifionydd - Through the lens of Geoff Charles at Plas Glyn-y-Weddw.

This exhibition gives an insight into rural life in Llŷn and Eifionydd between the 1930s and the 1970s through a selection of photographs taken by photojournalist Geoff Charles (1909-2002).

His photographs document life in rural Wales and most were taken for the newspaper Y Cymro. Originally from Brymbo near Wrexham, he began working for Y Cymro on an occasional basis in 1937, and became a full-time member of staff after the Second World War.

CHARLES, Geoff © Geoff Charles Estate / Llyfrgell Genedlaethol Cymru - The National Library of Wales

CHARLES, Geoff © Geoff Charles Estate / Llyfrgell Genedlaethol Cymru - The National Library of Wales

CHARLES, Geoff © Geoff Charles Estate / Llyfrgell Genedlaethol Cymru - The National Library of Wales

A collection of around 120,000 photographs by Geoff Charles is held at the National Library of Wales in Aberystwyth. We are very grateful to the Library for allowing us to borrow images from the collection, together with the film ‘Yr Etifeddiaeth’ (The Heritage), for this exhibition. These loans have been made possible through the CELF project, which aims to display contemporary artwork from the national collection in a network of galleries across Wales.

During his career, Geoff Charles made a significant contribution to agriculture in Wales, not only by documenting rural life during decades of considerable change and development, but also through his work for Farmers Weekly. During the Second World War, he served on the exhibition subcommittee of the Montgomeryshire War Agricultural Executive Committee, which was responsible for improving farming practices.

The exhibition also includes agricultural and rural-life-related objects on loan from local residents.

We are also delighted to have commissioned the artist Anna Higson from Boduan to create work responding to ‘Yr Etifeddiaeth’. The film can be viewed in the space beneath the stage of the open-air theatre. This commission has been made possible through CELF.

Rural Life in Llŷn and Eifionydd - Through the lens of Geoff Charles is at Plas Glyn-y-Weddw from 22 July - 4 October 2026. For more information please head to the Plas Glyn-y-Weddw's website.

Mary Lloyd Jones: Layers at the National Library of Wales.

Mary Lloyd Jones is one of Wales’s most important artists. She was born in 1934 in Pontarfynach (Devil’s Bridge) and trained at Cardiff College of Art. She has been exhibiting her work since the 1960s, forging her way to becoming one of the most influential figures in Welsh visual art. Over the years, her work has taken her all over the world, but it is to the landscapes of Ceredigion that she returns for inspiration.

Through her bold use of colour and layers of varied marks, Mary has developed a distinctive visual language that brings together the personal and the historical. Her work moves between painting and textiles, where the process of working with fabric is integral to the meaning. The marks that cover her large canvases come from a wide range of sources - from prehistoric carvings to systems of language - reflecting the ways in which people have sought to record and interpret their world.

JONES, Mary Lloyd, Iaith Cofio © Mary Lloyd Jones / Llyfrgell Genedlaethol Cymru - The National Library of Wales

JONES, Mary Lloyd, Red Yantra © Mary Lloyd Jones / Llyfrgell Genedlaethol Cymru - The National Library of Wales

JONES, Mary Lloyd, Cwm Rheidiol © Mary Lloyd Jones / Llyfrgell Genedlaethol Cymru - The National Library of Wales

Mary Lloyd Jones: Layers celebrates Mary’s life and work. Drawing on a career spanning more than six decades, and an extensive archive recently gifted to the Library, the exhibition explores the themes that have shaped her work: landscape, language, historical marks and identity.

You are invited to trace the evolution of her work and to celebrate a lifetime of vibrant creativity.

Exhibition highlights include early geometric works, experimental textiles, Mary’s personal archive, and the abstract, colourful landscapes she is best known for.

Mary Lloyd Jones: Layers is at the National Library of Wales from 25 July 2026 - 10 April 2027. For more information please head to the National Library of Wales's website.

Materials List

● A canvas, canvas board, or thick paper suitable for acrylic paint

● A set of brushes in a variety of sizes (large to small)

● A rag or cloth to dry your brushes

● A jug of water to wash your brushes

● Acrylic paints (suggested colours): 

• o Prussian Blue or Phthalo Blue    
  o Vermilion Red     
  o Crimson o Lemon Yellow     
  o Yellow Ochre o Red Ochre     
  o Cobalt Blue o White

● An image to work from (photograph or printed reference)

Step-by-Step Instructions

1. Prepare Your Surface

You may wish to prime your canvas with an undercolour first. A warm tone such as orange or red works beautifully to give life to the skin tones. If you prefer, you can also begin working directly onto a white surface.

2. Block in the Dark Areas

Take your largest brush. Squint your eyes slightly at your reference image so that the details blur and you see only the main shapes of light and dark. Using one of your darkest colours, block in all the dark areas you can see. This creates a strong foundation and gives structure to the portrait right from the start.

3. Add Mid Tones

Next, begin mixing mid tones and block these in the same way. At this stage, focus only on building areas of tone and colour to establish the structure of the face. You can follow the direction of the planes of the face with your brushstrokes to help form the features. Keep looking carefully at your reference image and adjust as needed.

4. Introduce Lighter Areas

Once your darks and mid tones are in place, begin adding lighter tones. Start working down through your brush sizes.

● Larger brushes = broader marks    
● Smaller brushes = more detail

Remember, expressive portraits use a variety of marks, not just tiny detail work.

5. Observe Shapes, Not Symbols

We often assume we know what an eye or nose looks like. Instead of painting what you think you see:

• Focus on the shapes of light and dark    
• Notice the spaces between features     
• Break everything down into abstract shapes

This approach will give you a much more accurate and expressive portrait.

6. Refine and Add Detail

When you’re happy with the placement of your tones and marks, take your smallest brush to:

• Add fine details     
• Strengthen features     
• Apply highlights

Keep stepping back from your painting regularly to see how it is developing.

Final Tips

• Be playful with colour.  
• Study how the light falls across the face.  
• Spend more time looking than painting. • Take breaks and step back often.  
• The more you practise, the more confident and expressive your portraits will become.

Most importantly — enjoy the process! 🎨

LEWIS, Jack, Bards of Wales © Jack Lewis

This piece reflects the poem created by Janos Arrany in 1857 titled similarly which depicts an imagined resistance of the Welsh bards against King Edward the 1st after his brutal conquest and subjection of the country. One by one each bard refuses and is slain: they are executed and burned alive singing of how King Edward had brought nothing but woe and desolation in his wake. This poem cleverly uses the historical tension between Wales and England as a mask for the poet's own country of Hungary and their similar relationship with neighbouring Austria, who had not long brutally repressed an uprising before Janos was commissioned by the Austrian emperor to create a poem like the bards of Wales to sing his praises.

Jack Lewis Biography

My painting practice explores Welsh identity through landscape, community, history, and folklore. Using mountains, ruins, language, and everyday people, I create bold, angular paintings with thick, textured surfaces that emphasise weight and place. The work considers Welshness as both shared memory and lived experience, combining myth, history, and ordinary stories to show identity as something constructed and evolving. In a wider context, these paintings respond to the underrepresentation of Welsh culture. By foregrounding local narratives, people, and places, the work asserts cultural visibility and invites broader engagement with questions of heritage, belonging, and identity within a global context.

Day 1

We had an introduction from Chloe and we also got lanyards that show we are on our placement here. We went to the quarry hospital to help out, making a video on how to get to the quarry so that more people are interested in coming to the area. Even though we didn't do that much today, it was a good ease into how the work environment is. We learnt that museums are very complicated behind the scenes and have a lot of jobs within them that make it up. It was very quiet and there weren't that many visitors in the quarry hospital so we are hoping the video makes people want to go. We realised there are a majority of English people going and visiting these places which is good that they want to learn about the history but surprisingly Welsh people themselves do not want to go and learn their own history. At the end of the day we looked at the beautiful view that the quarry hospital looks over and got to know each other, since we didn't know each other before today. 

Day 2

On day 2 we started off with an admin task where we learned more about using excel to maintain information and numbers. We used excel to type up the stats from old visits from e.e 1967. We learned that details like this can be useful in terms of patterns and what needs to be improved about the event or task. We also helped Lowri create an activity for young children which was very helpful to me as I learned that there is many jobs within one company that you would never expect for example we later helped Mari who works in the education department with Lowri to go down to storage, she works part time which was something I didn't know you could do when working as an adult but it was interesting and useful to know that there's always a job or opportunity that can suite everyone which would be great for when just starting of your career. We later had an opportunity to have a meeting with Amgueddfa Cymru about the importance of using both languages equally, which was very interesting because we learned that it really is helpful to be bilingual as it provides more job opportunities. 

Day 3

This was one of the most exciting days of the week, actually being able to go into the slate museum while closed. But at the start of the day we helped Lois by making a plan on how to get children and parents aware of the nature trail Amgueddfa Cymru has to offer. We brainstormed together until our early lunch break. Then we went down to the construction site to get protective gear so everyone was safe during the tour. We also had to take other safety precautions like wearing trousers and walking shoes. The tour was really fun and we both helped keep everyone together but it was extremely hot that day so it was really hard to focus. After the tour Chloe treated us both to ice cream, we both got cookie dough, and it was very lovely and helped with the heat. After we walked back up to the quarry and filmed a tiktok on the nature trail before having to leave. We learnt about preservation and how important and how much work goes into preserving museums and showed the careful work they have to do to get everything right to tell the story of the museum. 

Day 4

On day four we went to Castell Penrhyn. We had a walk around the castle however later learned more about the history of the castle and the history of the Penrhyn family which I we learned is a big part of having a museum or a historical land because although people love going to castell Penrhyn, most people see it as walking around a beautiful house instead of looking at the good and bad parts of the castles history, for instance the slavery in the 18th-19th century. We think its very important to the visitors to know what really went on instead of only seeing it as a house. We then watched a slate demo and then helped people complete a survey about the experience and their past visits of the museum in Llanberis which was very good to see how useful surveys can we when running a company because it allows the company to see the visitors opinions and thoughts about what they offer, it also helps to know what the company need to promote or do better. 

Day 5

Our last day here at Amgueddfa Cymru, we started the day by summarizing how the week has been and what we have done and learnt. We wrote this blog and will after create a blog on the importance of the slate history in Penrhyn castle. Afterwards we will make a few promotional social media videos before leaving early. This work experience has shown us a lot and helped us realise the importance and how museums work behind the scenes and given us skills like talking to new people, teamwork and helping others. And we weren't really shocked how museums work and is exactly how we pictured working at a museum was like. 

Meadows are habitats dominated by native grasses and flowers, traditionally managed by a single annual hay cut and grazed by animals during the autumn and winter. They are diverse habitats that support a wide range of plants, animals and fungi however, the amount of land managed in this way has significantly decreased. In Wales, meadows are an example of a priority habitat of principle importance as they are under threat from changes to management, climate change and invasive species.

The urban meadow beside National Museum Cardiff was created in 2013. This patch of grass has been transformed from an area once described as species poor to one full of different species of grass and native wildflowers. It provides a haven for wildlife, enhancing the biodiversity around our site and, within the city, it also helps to form a green corridor for nature, linking up other green spaces across Cardiff and beyond.

Early ransformation of the meadow

Early transformation of the meadow

The meadow is now a lovely example of neutral semi-improved grassland in the centre of Cardiff. Cowslips (Primula veris), daffodils (Narcissus) and cuckoo flower (Cardamine pratensis) in spring are followed by familiar meadow species such as ox-eye daisy (Leucanthemum vulgare), clovers (Trifolium spp.), meadow buttercup (Ranunculus acris) and knapweed (Centaurea) along with grasses such as sweet vernal grass (Anthoxanthum odoratum), crested dog’s-tail (Cynosurus cristatus) and Yorkshire fog (Holcus lanatus). Last year we recorded, corky-fruited water-dropwort (Oenanthe pimpinelloides), a new species for the Urban Meadow, and one which is uncommon in Wales.

The Urban Meadow in Summer

Hoverfly on buttercup flower

All meadows need some annual maintenance to keep them in good condition and although we have followed the traditional regime of a single annual cut, as the years have gone by, we have seen some dominant grasses such as false oat grass (Arrhenatherum elatius) start to establish.

In autumn 2024, we added yellow rattle seed (Rhinanthus minor) with the help of funding from the National Heritage Lottery Fund GROW project. This annual plant is semi-parasitic and can play an important role in helping to keep a healthy balance between grass and wildflowers. As it grows, it takes nutrients from the roots of surrounding grasses, in turn weakening and reducing their dominance and allowing space for wildflower species to spread.

The common name comes from its yellow flowers, forming round seed pods in summer which rattle when the seeds are ripe! It is also known as “the Meadow Maker” owing to its reputation for increasing floral diversity.

Yellow rattle seedling in May 2025

Yellow rattle flower in June 2025

The native wildflowers found on the meadow provide an important source of pollen and nectar for insects and butterflies, but it is the variety of grasses and flowers together that ensure it provides food, shelter and habitat for many other species too! The leaves, stems and roots can be just as important.

In recent years we have recorded pollinators including hoverflies, bees – solitary, honey and bumble, wasps, butterflies, moths and beetles. We have also spotted spiders, grasshoppers, caterpillars, dragonflies, woodlice, slugs and snails… the list could go on!

A male swollen thighed beetle

They are good pollinators, visiting a variety of open faced flowers such as this ox-eye daisy.

Some recent records include Swollen thighed beetle (Oedemera nobilis), Cinnabar moth caterpillars (Tyria jacobaeae) which feed primarily on Ragwort leaves (Jacobaea vulgaris) and Essex Skipper Butterfly (Thymelicus lineola). Day flying moth visitors include Six spot burnet moth (Zygaena filipendulae) and spotted on different occasions last year Hummingbird Hawk Moth (Macroglossum stellatarum), which visits Wales from southern Europe in the summer.

Cinnabar moth caterpillars

Essex skipper butterfly

Six spot burnet moth

A number of different habitats have also been created to provide more opportunities for wildlife around the meadow.

It’s not just insects that visit the meadow, groups of Starlings (Sturnus vulgaris) can often be seen wandering through searching for insects and one evening recently, a hedgehog (Erinaceus europaeus) was spotted beside the meadow.

Our Natural Science Curators have created resources to help you identify plants, animals, rocks and fossils on your doorstep. You can find them on our website: Spotter’s Guide | Museum Wales

The first Rosery was planned in 1898 by Hugh Pettigrew, the head gardener at the time. It had winding grass paths, trellises with climbing roses, and a canal planted with water lilies and filled with ornamental fish. More than 100 types of roses were planted in the garden.

After the First World War, the Rosery was not looked after. The canal was filled in, and the trellises and pergolas were removed. In the 1940s, after the Plymouth family donated St Fagans Castle and grounds to the Museum, a simpler rose garden was created, with triangular beds.

In 1998, the Museum decided to restore Pettigrew’s original design. The old canal was dug out and replanted with water lilies. The triangular beds were removed, and new curved beds were laid out around the canal, following Pettigrew’s plan. Roses were chosen carefully, based on a list made by Pettigrew in 1904.

However, over time, many of the old roses became unhealthy. They suffered badly from a disease called black spot, which makes the leaves turn yellow, develop black spots and fall off. Before the Clean Air Act of 1956, black spot was rare because the air was full of sulphur from pollution, which helped protect the plants. But when the air became cleaner, black spot became a much bigger problem.

In 2017, the Rosery was replanted again. This time, many modern roses were used, strong, healthy plants that flower for a long time and still have the beauty and scent of traditional roses. Most of the roses are from David Austin, a famous rose breeder. One special rose growing in the garden is called ‘Roald Dahl’, named after the famous author who was born in Cardiff.

We still garden in the spirit of the Edwardian period, because most of the ornamental gardens at St Fagans date back from that time. The Edwardians loved roses - and so do we! But looking after them is not always glamorous. Every January, the gardeners prune the roses hard to keep them healthy. Then the beds are mulched with manure, we add manure to the soil to feed it. Healthy soil helps the roses to grow strong and healthy.

Throughout the summer, the gardeners deadhead the roses to encourage more flowers, but they leave some blooms to make rose hips, which are used to decorate the historic houses in winter. Around the roses, there are also flowering perennial plants like lavender and violas planted to help pollinators like bees and butterflies. 

Some roses, called single roses, have fewer petals and an open centre. These are better for insects because bees can easily reach the nectar and pollen. Some of our favourites include roses called ‘Tottering-by- Gently’ and ‘Starlight Symphony’.

Today, the Rosery is full of colour and scent. The new roses look and feel like old roses, but they flower again and again through the summer. They remind us of the love, care, and hard work that goes into keeping a garden full of life.

What was the Ann Francis shipwreck?

The Ann Francis was an Elizabethan merchant ship returning home to Norfolk from Spain, and wrecked on Margam beach (near Port Talbot) in December 1583. This article tells the story of what happened in the immediate aftermath of the wreck, and its rediscovery 400 years later, as well as looking in detail at some of the objects.

What has been discovered from the Ann Francis shipwreck?

Amgueddfa Cymru – Museum Wales has just acquired a spectacular collection of coins and artefacts. These were discovered by Peter Hughes, a metal detectorist, between 1996 and 2017. They include about 870 gold and silver coins, as well as personal belongings, ship’s equipment, and cooking, eating and drinking utensils, all dating to the late-15th to 16th century.

These add to previously acquired items found at the same beach as far back as the 1970s, such as navigational compasses, more coins and a bosun’s whistle, all indicating the presence of a 16th-century wreck. Research by local historians, archaeologists and curators in the 1970s to 1990s revealed the wreck to be from a ship called Ann Francis.

Where was the Ann Francis sailing before it wrecked?

Francis Shaxton, the owner, claimed that the Ann Francis had sailed to Hartlepool from King’s Lynn, but in truth, the Ann Francis had set sail for the Iberian Peninsula in October with a cargo of wheat. At the time, Spain relied on imports of grain as well as other goods. It paid for these shipments with gold and silver bullion, which had been shipped from Spain’s recent conquests in South and Central America. The Ann Francis was returning home to Kings Lynn from Spain with payment for the grain along with other tradeable goods when it was driven onto the shore by a storm and violently wrecked. A navigational error or strong southerly winds may have led its captain to enter the Bristol Channel instead of the English Channel.

Why did Francis Shaxton lie about the ship’s destination?

It turns out that Francis Shaxton and his father, also Francis Shaxton, were merchants based in King’s Lynn and notorious smugglers. Smuggling at the time was rife and many coastal communities were involved in it. Francis Shaxton senior was even elected mayor of King’s Lynn twice. Clearly the people of King’s Lynn didn’t mind that Shaxton was a known smuggler. Francis Shaxton junior took over the business in 1582 by which time the family had amassed a fleet of 8 merchant ships.

Are there historical records of the Ann Francis wreck?

Yes, there are! Accounts from the Star Chamber court [https://libguides.bodleian.ox.ac.uk/law-histcom/starch] reveal that a ship was wrecked on the Glamorgan shore on 28th December 1583 (that’s the Julian calendar, so 7th January in the Gregorian calendar we use today). At the court the local lord Sir Edward Mansell claimed legal right over the wreck. He accused the Steward of Afan George Williams and 100 others of arming themselves and plundering the wreckage. Williams denied this, saying that the wreckage was on land belonging to the Earl of Pembroke and that he had taken over the wreck on behalf of his lord. Both sides impounded goods and parts of the ship and held onto them while the case was ongoing.

What was recovered from the Ann Francis wreck in 1583?

Mansell made an inventory listing all the items he impounded: various cannon and firearms, anchors, rope, sail, pieces of mast, the ship’s boat, three chests with their locks broken, cloves, marmalade, textile, a whistle and 12 pounds 6 shillings of Spanish silver. The Star Chamber records reveal that Williams had confiscated several items from a looter, including spices, a pewter spoon and a pewter cup. Six people were arrested in possession of loot from the wreck.

Williams and Pembroke won the case, but by March 1584, Francis Shaxton, the owner of the ship had come forward to claim the wreck. It was agreed that Mansell would return some of the impounded goods, specifically, two of the best anchors, two of the best cables, six cannon and their carriages, and half of the money recovered from six looters.

Who was on board the Ann Francis when it wrecked?

A parish register in one of King’s Lynn’s subsidiary ports may reveal the names of the sailors onboard the Ann Francis. The Wells-next-the-Sea parish register records the loss of 14 sailors on the west coast in December 1583, the same time the Ann Francis was wrecked. It says:

“Perished upon the west coast coming from Spain: Richard Waller, Christopher Dodd, John Bunting, William Craven, George Page, Gregory Baxter, Christopher Baxter, Thomas Ayre, Henry Gouldsmith, Walter Marshall, Robert Archer, Oliver Cobb, William Barret and Richard Dye, whose deaths were brought to pass by the detestable working of an execrable witch of King’s Lynn whose name was Mother Gabley, by boiling or rather labouring of certain eggs in a pail full of cold water. Afterwards approved sufficiently at the arraignment of the said witch”

We don’t know what happened to Mother Gabley. She was apparently the first person condemned in Norfolk under the 1562 Act Against Conjurations, Enchantments and Witchcrafts. As her supposed crime involved murder, her fate may have been execution by hanging.

What coins were found at Margam beach?

Gold coins

A Portuguese gold São Vicente, named after the depiction of Saint Vincent of Saragossa, patron saint of Lisbon and sailors, on the reverse (tails) of this coin. It was struck in 1555-1557 during the reign of John III.

A Spanish gold doble excelente depicting the so-called Catholic Monarchs, Ferdinand and Isabella, who united Aragon and Castille, the two largest provinces of Spain. They sponsored Christopher Columbus’s expedition to the New World. They reigned together from 1474 until Isabella’s death in 1504. Ferdinand continued to reign on his own until 1516. Their coins were very successful so many of the coins inscribed with their names were struck posthumously.

Silver coins

A Spanish silver eight reales, one of the famous pieces-of-eight, also known as a Spanish dollar. Most of the silver coins were struck in the names of Ferdinand and Isabella. They range from the 8 reales down to the half real, though most are 4 reales. The reverse on all these coins shows the symbols of Aragon and Castille, a yoke for Aragon and a bundle of arrows for Castille.

A rare Spanish silver three reales, struck during the reign of Charles and Joanna at the newly created mint in Mexico City in 1536-7, making it one of the very first coins struck in the Americas. The reverse shows the Pillars of Hercules at the Strait of Gibraltar. Over 120 Mexican silver coins have been discovered on the beach.

A taler of the Maurice Elector of Saxony. This is one of many different talers minted in the German states and counties of the Holy Roman Empire in the mid-16th century, which have been found on the beach. Their name evolved into “dollar” and came to refer to all silver coins of that size including the Spanish piece-of-eight.

International currency and trade

A silver sixpence of Elizabeth I dated 1580. This may have been dropped by one of the looters or it may have been pocket change belonging to one of the crew. Other small denomination silver and copper Spanish, Portuguese and German coins found on the beach may have been picked up in the ports of the continent as change.

The silver and gold coins form part of the payment for the wheat. Interestingly, most of the coins were several decades old by the time of the Ann Francis’s last voyage, yet many are in an unworn condition, set aside in store for many years. Perhaps some had been transported in bulk as previous payments for goods and services. This would explain why German talers, Spanish and Mexican silver, and Portuguese gold are all associated with one wreck.

What was else has been found from the Ann Francis shipwreck?

A brass combination lock. It was found among the scatter of silver coins. It is likely the lock for one of the chests containing the coins or important ships documents, perhaps one of the coffers listed on Mansell’s inventory. The lock code was successfully cracked in 2026 using modern scanning technology.

Two coin-weights, used for checking the weight of gold coins from the reign of Henry IV, which were still in circulation internationally. Tradesmen would want a variety of these weights to hand so that they could check the different currencies they might be paid in.

Navigational equipment

Sounding leads, lead weights that were dropped over the side of the ship on ropes to determine the depth of the water. They have concave bases which would be filled with tallow, to determine the form of the sea bottom from sand stuck in the tallow or the impression of rocks or coral.

Nautical dividers or compasses, used with charts to determine the ship’s location based on a known starting position and heading, a process now known as a dead reckoning.

A boatswain or bosun’s whistle. It was used for giving orders on board – its sound could be heard above the noise of the sea.

Parts of the ship

Several copper nails, rivets and lead sheet fragments which may have held the ship together or acted as repairs.

Defence

Cannonballs with cube-shaped recesses inside them, indicating that they are likely dice shot. Each ball held an iron dice, possibly intended to cause more damage or make the projectile spin.

Lead shot was found on the beach which may have been ammunition for smaller firearms.

Mansell’s inventory tells us that the ship was armed with a range of different guns, a sensible precaution considering the risk from pirates and privateers.

Feeding the crew

A brass pestle and four pewter spoons, including one engraved with identifying marks.

A pewter tankard handle and lid.

Spigots and taps, which would be hammered into casks of beer or wine.

Several fragments from a cauldron.

Small rolled up lead pieces appear to have been net weights for fishing.

Personal and miscellaneous items

A brass candlestick, and various personal items and dress accessories, including a thimble, buckles, a button and a spur possibly belonging to the crew or lost during the looting of the wreckage.

What should I do if I find the contents of a shipwreck?

As historic wreck material, the finds are protected by UK law. Under the Merchant Shipping Act 1995, there is a legal obligation for finders of wreck to report wreck material to the Receiver of Wreck. There are different definitions and categories of wreck, but the Ann Francis finds count as “wreck material washed ashore in tidal waters”. Legally, the finds belong to the crown and the finder is entitled to a salvage award. It is the Receiver of Wreck’s responsibility to find an appropriate museum to take the finds. For more information visit Wreck and salvage law - GOV.UK.

Since these discoveries, the Ann Francis wreck site has been scheduled, meaning that it is legally protected under the Historic Environment (Wales) Act, 2023. It is an offence to metal detect or conduct invasive archaeological investigations on a Scheduled Monument without consent from Cadw.

Come and see these items on display at the National Waterfront Museum until June 2027.

Further Reading

• Blundell, J. 1994, ‘A Tudor wreck near Aberavon in Glamorgan’, Cardiff Naturalists’ Society Newsletter 22, 1-3.
• Redknap, M. and Besly, E. 1997 ‘Wreck de mer and dispersed wreck sites: the case of the Ann Francis (1583)’ in M Redknap (ed.), Artefacts from Wrecks. Dated assemblages from the Late Middle Ages to the Industrial Revolution, Oxbow Monograph 84 (Oxbow Books, Oxford), 191-207.
• Redknap, M. 2019, 'The Ann Francis', in Redknap, M., Rees, S. and Aberg, A (ed), Wales and the Sea: 10,000 Years of Welsh Maritime History, (RCAHMW/Y Lolfa, Talybont), 240.

Have you heard of the term “invasive” species?

As international travel has become easier and more accessible over time, we’ve increasingly moved plants, animals, fungi and algae around the world. Sometimes this happens intentionally – for example, importing pretty plants to be grown in gardens – and sometimes accidentally, such as marine species picked up in the ballast water of cargo ships. You can learn more about invasive species and marine invaders here.

Non-native vs invasive species…

The number of species introduced from their native range (where they originally occur) to new locations has been increasing for years. Species that have been transported to an area they couldn’t have colonised by themselves are called “non-native species”.

Although most of them are harmless, 10-15% of non-native species end up thriving in their introduced habitats – they spread and cause negative impacts to our native biodiversity and ecosystems. These are called “invasive species”, and they can have serious knock-on effects for our health, the climate and our economy.

Why are plants important?

We often forget that we interact with plants every day. The array of habitats found in Britain are made up of a diversity of uniquely adapted species, and plants form the basis of many of these habitats. Plants act as food sources for a huge diversity of organisms (including us!); they also influence our physical environment, for example reducing flood risk by stabilizing riverbanks and storing water. Some plant species are special for being so rare and only growing in the British Isles. However, our flora is changing; we now have more non-native than native plant species in Britain!

Invasive plants – how do they get here and what’s the problem?

There are 36 plant species that are of special concern in Britain, but there are also more species that are considered invasive and have special legislation around how they can be handled to control their spread. Mainly these species have ended up in Britain through horticulture, but less commonly, invasive plants turn up by hitch-hiking in imported materials or in the ballast of ships.

Horticulture

Many species have been imported as ornamental plants because they are pretty and were thought to make for good garden interest – this was particularly common in the Victorian period, before we knew much about the risks of introducing species to new lands!

Japanese knotweed/Clymog Japan is a prime example. This species was introduced to Britain in the 1800’s, where it was propagated and became a popular exotic garden plant. However, records of garden escapes were recorded from as early as 1907 in Glamorganshire and to this day, Japanese knotweed is particularly problematic in South Wales. Evidence indicates that every plant of Japanese knotweed (Reynoutria japonica var. japonica) growing in Britain originated from a single female plant introduced all those years ago! You can find this plant growing along roadsides, riverbanks, railway lines, woodlands and grasslands, where it spreads by deep underground rhizomes (underground stems that produce new shoots) and seriously reduces biodiversity. Around £1.7 million is spent in the UK every year on managing Japanese knotweed and mitigating against its damage!

Japanese knotweed/Clymog Japan growing in South Wales.

Specimen of Japanese knotweed in the Welsh National Herbarium (Amgueddfa Cymru), collected from St Fagans.

Himalayan balsam/Jac y Neidiwr (Impatiens glandulifera) was also introduced as an ornamental plant from the Himalayas in 1839. It is found today growing along riverbanks, in woodlands and along roads. It has explosive seed pods which allow it to spread across large distances. Although the flowers are beautiful, it outcompetes native species, reducing biodiversity. It also has shallow root systems which can worsen riverbank erosion, which in turn can reduce water quality and increase the risk of flooding. A study by Cardiff student, Amy Wyatt, found that since 1865, Himalayan balsam has evolved to better adapt to its introduced range.

A specimen of Himalayan balsam/Jac y Neidiwr.

Contamination of imported materials

Pirri-pirri burr (Acaena novae-zelandiae) found its way to Britain from south-eastern Australia and New Zealand as a hitch-hiker on imported wool. It has hooked seeds which can easily attach themselves to fur and clothing. Like many invasive plants, this species can outcompete our native flora and form dense stands which reduce biodiversity.

Example of Pirri-pirri burr flower, showing hooks/spines that allow seeds to spread by attaching to fur and clothing. 

A specimen of Pirri-pirri burr.

Ragweed (Ambrosia artemisiifolia) is native to North America and is thought to have arrived in Britain in bird seed, horticultural soil and soil used to ballast ships. It has highly allergenic pollen and can cause hay fever.

Heath Star Moss (Campylopus introflexus) is an invasive moss that is thought to have originated in the Southern hemisphere and to have been introduced with produce transported by ships. It is also known as Tank Moss, for its suspected spread via World War II tanks. An expert coloniser of acidic bare ground, such as that found on coal tips, it is now common in Wales where it threatens these wildlife-rich habitats.

Heath star Moss growing in Tylorstown.

Recently, a new fungus (Bryoscyphus granulosus) has been found infecting Heath Star Moss and closely related mosses. The fungus causes the moss to die back and form dead patches that expand outwards, like a fairy ring. Specimens of this fungus have been donated to the museum recently by former curator George Greiff. These include the ‘holotype’, the original specimen used to describe the fungus as new to science. This fungus parasite has significant ecological importance, perhaps with the potential to control an invasive moss that can cause substantial harm.

How we’re working on invasive plants at Amgueddfa Cymru

The Welsh National Herbarium held at National Museum Cardiff contains over three quarters of a million plant specimens, representing around 300 years of collecting and covering virtually all species found in Wales. The herbarium is a treasure trove of information that acts as a reference point for identifying plants, where species are found, and how non-native and invasive plants are spreading across the British Isles. You can learn more about what an herbarium is and how we preserve plant specimens here. The Botany team work hard to look after and develop these collections of specimens for the benefit of us all, and to support ongoing research into the changing diversity of our ecosystems. We form a small part of the Natural Sciences team at Amgueddfa Cymru, made up of curators who look after the natural history collections. Some of us specialize in species taxonomy (naming and classifying species) and ecology; some of us research non-native and invasive species so we can understand their spread and impacts.

What can you do to help?

There are many ways to help stop the spread of invasive plants. You can find out more here. You can help prevent future invaders by keeping an eye on the plants in your garden and alerting others to species that may jump the garden wall. There are also ways to stop the spread of invasive species in and around water – learn more here.

A new exhibition of artworks by Isabel Adonis at Storiel, Bangor.

ADONIS, Isabel, Two Girls and a Turkey Red Quilt © Isabel Adonis / National Library of Wales

Isabel Adonis was born in London to a Welsh mother, Catherine, and a West Indian father, Denis Williams. She was a homemaker and he was an artist and writer. His artwork now hangs in the Tate Gallery.

She moved to Khartoum in the Sudan when she was six and spent two years there where she was influenced by Islamic Art. In 1959 she came to live in north Wales and was educated at John Bright Grammar School in Llandudno.

From an early age she experimented with textiles and quilt making and later moved on to making cloth pictures and dolls. In 2008 she found a canvas on the road and took it that she should begin painting. She was influenced by the folk art of America and seeing a painting of a girl with a cat she painted a girl with a crow, the crow symbolising her inner world and its symbolism in Welsh Mythology. She loves colour and paints in acrylic and uses collage elements.

Isabel has previously shown at Ucheldre Centre and at Mostyn, Llandudno. In 2024 she was commissioned to create a painting for the National Library of Wales, Aberystwyth and this year twenty more paintings were bought. The commissioned painting, “Going to Africa” is currently part of the ‘Portraits and Power’ exhibition at the National Library which runs until 30th May 2026.

As well as the works in the exhibition, Isabel has additional work for sale, which are shown here and can be viewed on request or purchased directly with Storiel.

Isabel Adonis is at Storiel from 18 April - 20 June 2026. For more information please head to the Storiel website.

When we were young, my brother and I witnessed mob justice at its worst. We had just finished school and were on our way home to finish the day. Home was only a walking distance from school, not too far but not too close either. What had happened was a mugging gone wrong. A man had tried to rob a woman off her purse, it was a busy open street where a lot was happening and it was bright as well, only 5pm in the afternoon. The woman screamed, “mwizi mwizi mwizi (thief thief thief), he’s just stolen my purse.” People started chasing the man which led to him being caught and beaten in front of everyone. It was not a sight for anyone, let alone children who were on their way home from school.

Mob justice is an act where members of the public take matters into their own hands to punish suspects. An act which is unacceptable, and which should never be.

It has led to brutal deaths where suspects have been killed for stealing food or something as meaningless as a handbag or a purse. No suspect should face punishment without due process and a fair trial. Mob justice highlights failure in policing as it shows that members of the public have no confidence in the police and prefer to take matters into their own hands.

What my brother and I witnessed should not have happened for children as young as us or any other child around at the time, we talked a lot about it while growing up to our friends and family and even by ourselves when we moved to the United Kingdom and wondered if that man was really guilty of stealing that purse of not. For all we know, he could’ve been an innocent passer-by mistakenly identified as a thief and what if he was the actual thief? Is this how grown-ups should deal with crime and criminals? What example were those adults who were beating that man showing us kids and their kids if they have any and were around the scene at the time?

And where were the police you ask? And did anyone try and call the police before they started pounding on that man? Before the man with the huge stone smashed his face in. And was that man who smashed the “thief’s” face in with a stone prosecuted? Was he imprisoned too? What about everyone else who participated in the brutal beating of that man? Were they caught by the police? Did the police even care to look for them? Or did they tell everyone, well done and thanks for your help.

This short film highlights the issues around mob justice and when people take the law into their own hands to punish a criminal, which continues to happen in different parts in Kenya and Africa up to today.

About Cynthia MaiWa Sitei

Originally from Kenya, stories played a big impact in MaiWa's upbringing; they were a form of entertainment during and after dinner and a reliable method of communication in bringing people together and creating spaces where everyone was equal regardless of their age, wealth and health. Her work integrates photography and text, and explores themes of stereotypes, prejudice and discrimination.

MaiWa moved to Wales in 2017, where she pursued a Masters in Documentary Photography at the University of South Wales, graduating in 2019.

John had sexual relationships and romantic friendships with both men and women throughout her life. According to Augustus’s autobiography, she had ‘an unhappy crossing in love’ with ‘a certain girl student’ at the Slade School of Art in London which ‘led to a drama’ in which John jealously demanded the girl end an affair with a married man. John’s first biographer, Susan Chitty, suggested that this love interest may have been Grace Westray, a fellow Slade student who shared a flat for a time with Gwen and Augustus. She may be the young woman depicted sitting in the foreground of John’s Portrait Group, one of John’s only surviving student works. Outside the window, we see two figures, possibly Gwen and fellow artist Ambrose McEvoy, another love interest. This group scene represents the tangled web of love, friendship, and family that defined Gwen’s student days. It depicts the shared student flat at 21 Fitzroy Street which served as a hub of creativity that fostered her artistic development, as well as a safe space in which to explore her emerging sexuality.

Gwen John, Group Portrait, 1897. UCL Art Collection – currently on display in Gwen John: Strange Beauties

John’s subsequent relationships followed a similar pattern: passionate attachment and deep affection spilling over into overwhelming devotion on John’s part. When she met the sculptor Auguste Rodin after moving to Paris in 1904 she became a favourite model and soon began a romantic relationship with him. This is documented in the hundreds of letters she sent him, now in the archives of the Musée Rodin. While many of them are love letters and some speak frankly about sex and desire, including with other women, others describe her day-to-day modelling for other artists. Among these were many queer women, such as Ottilie Roederstein, Ida Gerhardi, Anna Wood Brown, and Hilda Flodin all of whom were long term clients and friends. While it’s not clear if John ever attended any of the cafés or salons associated with the Parisian sapphic artistic circles to which these women belonged, she would undoubtedly have been aware of them.

Like many of the women John worked with and for, having her own lodgings was essential for both her professional and personal life. Her garret apartment, as depicted in Corner of the Artist’s Room, was both her home and her studio. As art historian Alicia Foster has pointed out, having a ‘room of one’s own’ was essential for her art practice, but as an unmarried woman it was also a space to which she could invite friends and lovers. At a time when even walking city streets unchaperoned could illicit unwanted attention, the ability to rent a small, private space meant freedom, sexual and otherwise. Is it any surprise then that John’s rooms appear so frequently as the subject of her art in its own right? For a single, queer woman and artist, this space represented both sanctuary and livelihood.

Gwen John, Corner of the Artist’s Room in Paris, 1907-9, NMW A 3397

In late 1926, John met the famous Catholic philosopher Jacques Maritain, who lived nearby in Meudon with his wife, Raissa, and his sister-in-law, Véra Oumançoff. John quickly became deeply attached to Oumançoff, who became her confidante and spiritual advisor. The two women would often speak after mass at their local church and go for walks in the woods together. John’s affection for Oumançoff developed into romantic feelings, which appear to have been unrequited. Many passionate draft letters addressed to Oumançoff can be found in the Gwen John Papers in the National Library of Wales. In them, John mixes religious thought with romantic devotion, asking God to ‘show her how to love Véra’ and asking Oumanoff to let her ‘kiss her hands’. Oumançoff became overwhelmed by the attention, and asked John to limit her letters and visits to once per week. John duly obeyed, but began bringing not just letters to these rare visits but also drawings, which she called ‘dessins de lundi’ (Monday drawings). Each week for nearly two years, John presented Oumançoff with a drawing or watercolour, some new and others apparently versions of older motifs. The subjects, styles, and mediums are widely varied. Some were presented attached to backing sheets of coloured paper with the title and date given inscribed on the back. The titles of many of John’s works on paper (such as Mademoiselle Pouvereau and Souvenir du Dimanche des rameaux) are known thanks to these inscriptions.

Gwen John, Mademoiselle Pouvereau, NMW A 3607

Oumançoff kept these drawings long after the relationship ended, in spite of moving the United States as an exile during the Second World War. Over one hundred of the dessins de lundi were discovered again in the 1960s in the Maritain archive. Several works now in the studio collection at Amgueddfa Cymru are versions of compositions John gave as dessins de lundi. Reading these works through the lens of John’s sexuality, we can see them not just as formal studies of composition or tone, but as tokens of love and affection intended to convey a shared experience of faith and prayer. Furthermore, because John’s ability to communicate with Oumançoff was restricted to just once a week, these drawings became an additional means through which she could communicate to her beloved. They stood in for conversations and letters.

One of the images that John gave to Oumançoff as a dessin de lundi was a drawing of Saint Thérèse of Lisieux (1873-1897). This modern French saint, a close contemporary of John, died young and was canonised very quickly. She was one of the first saints to ever be photographed, a fact that her convent used to help create an iconography for her and advance the cause of her canonisation. The convent in Lisieux published books, prayer cards, and memorabilia with Thérèse’s image on it. As a Catholic convert and an artist, John was fascinated by these photographs which for the first time showed the real face of a saint, rather than an anonymous stylised icon made hundreds of years after their death. She became particularly attached to an image of Thérèse and her older sister, Céline, as children, drawing and painting this composition hundreds of times. These images have tended to be underrepresented in studies about Gwen John’s art, and are often dismissed as obsessive or absent-minded doodles. But this diminishes the importance that the ‘true face’ of a saint just three years older than her would have had for John. Furthermore, by the 1920s when John began drawing her, Thérèse had become a bit of a queer icon herself. Jean Cocteau, Henri Ghéon, Lucie Delarue-Mardrus, Vita Sackville-West, and Radclyffe Hall were all devotees of the saint. Her theology of the ‘Little Way’, which suggested that small, imperfect lives could be made holy through everyday sacrifices appealed to converts, avant-gardists, and other outsiders. John, who would write in her late notebooks about her desire to become a saint, was likewise drawn to Thérèse’s ‘Little Way’. Perhaps as an outsider herself, whose life and sexuality didn’t conform to heteronormative standards, she took particular comfort in Thérèse’s image and doctrine.

Gwen John, Sainte Thérèse of Lisieux and her sister, NMW A 15561

Gwen John, Sainte Thérèse of Lisieux and her sister, NMW A 15534

Reading John’s art through the lens of her sexual fluidity opens up possibilities for new interpretations of her art. While this article has touched on a few examples, there is still more work to be done. In acknowledging John’s queerness and considering how it might influence her way of seeing the world around her, we add depth and nuance to our understanding. To read more about John as a queer artist, see Norena Shopland’s book Forbidden Lives (2017), Tabitha Deadman’s Art UK article ‘Bi visibility: Gwen John and multiple gender attraction’, and Mair Jones’s Art UK article ‘Queer Welsh women in art’.

© Steff ap Carys

Inspired by the composition of Garry Fabian Miller's work, Steff ap Carys has composed three poems - the placement and spacing reflect the composition of The Sea Horizon series. A block of poem for the 'sky' above, the 'sea' below, and one line of poetry for the 'horizon'. This series of poetry blurs the lines between the visual and language.

Steff ap Carys is a multi-disciplinary artist and researcher from Cardigan. He was awarded a BA in Theatre, Music and Media from Trinity College, Carmarthen, and and MA in Welsh and Celtic Studies from Cardiff University. He is currently undertaking a doctorate in the field of film poetry.

The Museum is deeply connected to its surrounding landscape, from the sheep that supply the wool to the habitats on its doorstep. Within the site lie three and a half acres of meadow, bordered by the Nant Bargod and Nant Bran, tributaries of the Afon Teifi. Alongside this sits the museum’s dye garden—a more cultivated space, but one that is equally rich in colour, history and wildlife.

Together, these spaces show how a simple change in land management can support a thriving and interconnected environment.

A Living Meadow Landscape

Away from the clatter of the mill machinery, the meadow offers a quieter, more reflective space. Managed through seasonal hay cutting rather than frequent mowing, it provides an important habitat for a wide variety of species. This approach sits at the heart of No Mow May, allowing grasses and wildflowers time to grow, flower and set seed.

This type of rough, damp grassland—known in Wales as rhos pasture—is increasingly rare. Its careful management is essential, as too much mowing or invasive species such as Japanese knotweed can quickly disrupt the balance that allows wildlife to flourish.

In spring and summer, the meadow comes to life. Butterflies such as Painted Lady and Red Admiral drift among the flowers, while the rare Brown Hairstreak lays its eggs on blackthorn in the hedgerows. Bees collect nectar from clover and hawthorn, ladybirds feed on aphids, and damselflies hover along the riverbanks. Surveys have even recorded more than 30 species of beetle on site.

The plant life is just as important. Native grasses such as meadow foxtail and fescues support wildflowers including knapweed, cuckoo flower and tansy, while wetter areas are home to rushes, meadowsweet and valerian. Together, these plants provide food and shelter for insects, birds and other animals.

One particularly rich area is the river overflow channel, where seasonal flooding brings nutrients that encourage a dense variety of plant life. It’s a reminder that natural processes still shape the landscape.

By allowing the meadow to grow throughout May, No Mow May supports this complex and thriving habitat.

The Dye Garden: Craft and Wildlife

Alongside the meadow, the dye garden offers a more structured environment, rooted in the history of textile production. For thousands of years, people used plants and minerals to dye fibres, a practice that continued in Welsh woollen mills well into the 20th century before synthetic dyes became dominant.

Today, the dye garden reconnects with this tradition, allowing the museum to explore the journey from plant to dyed fabric. Developed over many years and now cared for by natural dye practitioner Susan Martin, supported by the National Heritage Lottery Fund, it is both a working garden and a place of learning.

During the growing season, the garden is filled with colour—creating an inviting space for visitors but also attracting a wide range of wildlife. The same principle behind No Mow May—allowing plants the time and space to grow—benefits this cultivated area.

Wildlife Across the Site

Across both the meadow and dye garden, a diverse range of species can be found, each playing a role in maintaining the health of the environment.

Butterflies are among the most visible visitors, but many species are in long-term decline. One reason is the lack of suitable plants for caterpillars. The flowers that attract butterflies are not always the same plants they lay their eggs on.

At the Museum, plants often considered “weeds”—such as nettles, thistles and willow—are allowed to grow in certain areas, providing essential habitats for caterpillars.

Bees are equally important, from familiar bumblebees to species such as the wool carder bee. Hoverflies, often mistaken for wasps, also play a dual role: as adults they pollinate plants, while their larvae feed on aphids, helping to protect plant life.

Not all wildlife is immediately noticeable. Earthworms are vital to soil health, aerating the ground and breaking down organic matter. They also form an important part of the food chain—there’s nothing a mole enjoys more than an earthworm-rich feast.

Birds are regular visitors too. Robins are familiar companions to gardeners, often appearing when soil is disturbed and insects are brought to the surface.

The range of habitats across the site has also led to the identification of less common species. Museum scientists have recorded the spider Araeoncus humilis, classed as vulnerable in the UK—highlighting the importance of maintaining these environments.

Looking Ahead and Visiting

No Mow May is just one of the ways the National Wool Museum supports biodiversity, but its effects can be seen across the entire site.

By allowing grass and wildflowers to grow, the museum creates conditions in which insects, birds and animals can thrive. Spaces such as the dye garden show that conservation and cultural heritage are not separate, but deeply linked.

It has been exciting to see the variety of wildlife visiting the museum grounds, but there is always more to discover. Work is ongoing to support these habitats, including plans for wildlife cameras to capture even more of the species that visit.

Visitors are encouraged to explore the landscape for themselves. In April this year, a narrow path was cut through the meadow, allowing visitors to wander through the longer grass without disturbing the wildlife.

The Meadow Trail highlights some of the plants and animals that can be found across the site, while signage, supported by the National Heritage Lottery Fund GROW project, explains the importance of seasonal initiatives such as No Mow May.

By simply letting the grass grow, the National Wool Museum reveals a hidden world—one that changes with the seasons and rewards those who take the time to look a little closer.

Here are our amazing Bulbcast submissions for this year!

Enillwyr/Winners: 

Cortamlet Primary

Yn Ail / Runners-up: 

St Patrick’s RC Primary

Leslie Primary

Pinehurst Primary

Yn Drydydd/Third Place:

St Michael’s Clady

Well done everyone, it has been lovely to see all the hard work you have put into the project this year. Thank you for taking part in this competition, we hope you enjoy your prizes!

-Professor Plant

[The world...its bulb] by Faye Latham ©Faye Latham

Faye Latham is a writer and visual poet, born in North Wales and now based in the Lake District. This new piece of work, ‘[The World…its bulb]’ is an erasure and found poem made using two pages from F. S. Smythe’s A Kangchenjunga Adventure, written in 1931. The two pages sit alongside each other – the left hand side is an erasure poem and the right hand side is made through found poem techniques and the newly formed pages work together to create one poem:

“The world / is / Far away now, / strung up like a row of pendant black beads. / OR / very / close, / a / garden / shrunk into its bulb.”

Erasure poetry is quite literally the process of erasing, covering or otherwise obscuring selected words from an existing text to create a new poem from the ones left untouched. Found poetry is a type of poetry created by taking words and phrases from other sources and reframing them into something new. Erasure and found poetry forms can be used as means of collaboration, or to confront the ideas expressed by another author.

On the left hand side, Latham has created a poem by erasing words on the page with black and white swirls. The right hand side features a found poem, where words have been selected from elsewhere in Smythe’s book and collaged into a new poem. In each case, paint, scissors and glue are used as tools of both destruction and creation and the landscape of the page is altered irrevocably.

Latham’s debut poetry collection, British Mountaineers, was shortlisted for the 2023 Boardman Tasker Award for Mountain Literature and contains over 60 erasure poems and explores the history of mountaineering as well as gender and politics. Latham is currently working on new visual poetry made using A Kangchenjunga Adventure, to explore the environmental implications of erasure. Alongside this, she is re-writing the myth of Blodeuwedd as an epic poem.

Run by the Future Generations Commissioner for Wales, the FGLA brings together a selected group of 18-30 year-olds from all corners of Wales to unlock leadership skills and expand knowledge on the Wellbeing of Future Generations Act. 

This all started when Amgueddfa Cymru announced that they had been awarded funding via the National Lottery Heritage Innovation Fund Project #GROW to sponsor a participant, which then culminates in the person working with #GROW Project Leads to support sustainability and climate action in line with the Wellbeing of Future Generations Act. I have always been passionate about nature and how it can shape our identity, our place in the world and our wellbeing. As a second language Welsh speaker too, I always found the crossover of language with nature, and how it can evoke different connections to our cynefin deeply fascinating. This opportunity felt the perfect opportunity to implement this passion tangibly with the enrichment of the FGLA skills and knowledge I gain. 

I was so excited to be part of FGLA 5.0 this year and Amgueddfa Cymru’s first ever participant - it was both thrilling and a little daunting to be the first person ever. However, it has been an amazing chance to gain skills to drive positive changes within the organisation, inspired by the values of the Wellbeing of Future Generations Act. As a public body, Amgueddfa Cymru is subject to requirements of the Act, and it is pivotal that the next generations of staff have the knowledge and experience of it to channel it into positive action. 

My FGLA journey kicked off with a residency where I met my cohort for the first time. We shared ideas, our ambitions networked as future leaders.  We also met the residency speakers, Academy alumni, and the Future Generations Commissioner for Wales, Derek Walker. This was incredibly inspiring and set the tone for my fortnightly training sessions across the 8-month programme. 

I learned a range of things - from how to act and consider seven generations ahead, building a wellbeing economy, to how other leaders are pioneering the Act. Our final residency in North Wales further sparked my ideas and built my networks with people doing such amazing work across the public, third and private sector in Wales. As training developed, I also shared and explored ideas with different colleagues, and it’s been so gratifying seeing how others are excited at the potential of working in new ways. 

At last, my experience culminated with a fun but bitter-sweet graduation in Cardiff with my cohort, the Future Generations Office, alumni, as well as representatives from Welsh Government and organisations. I even took part as a speaker to present my change plan (more on that below!). It was amazing to be able to share how I’ve embedded my new skills and knowledge into a plan. 

So what’s next? As part of the FGLA, each person creates something called a ‘Change Plan’; a proposal in your area of expertise, which channels your new learning into a practical plan for their place of work to better align to the Wellbeing of Future Generations Act. My change plan looks at how we can blend language, nature and cynefin to develop opportunities for Amgueddfa Cymru audiences which invoke connection, belonging and wellbeing and helps people to connect to their cynefin and to nature overall. Linking these together not only fosters deeper learning and care about the natural world, it invites people to reconnect to nature, shares intangible cultural heritages and links language to ecological literacy.

The outcome of this contributes to a future Wales where growing people’s connections, knowledge and care for nature inspires future resilience. It also shows how Amgueddfa Cymru can be a hub for Welsh language as a way to experience nature and cynefin - inspired by our collections, spaces, programming, events and experiences.

I am immensely proud to have had this opportunity to develop, from scratch, an ambitious, creative plan aligned to Amgueddfa Cymru’s organisational goals. I’m excited to see how it may be applied in order to contribute to a better future for Wales. 

This opportunity would not have been possible without the support of the National Lottery Heritage Innovation Fund Project #GROW, which builds workforce resilience in the face of climate change. I also extend my grateful thanks to my GROW project colleagues, Sarah Younan, Heather Jackson, Steph Burge, and Victoria Hillman for all of their support. 

Over a period of ten years, in close collaboration with young people across the South Wales Valleys, Clémentine Schneidermann and Charlotte James have created a vast body of work for their project It’s Called Ffasiwn. Working under their studio name Bleak Fabulous, they have produced photographs that brings documentary photography together with elements of fashion, performance, landscapes and portraits, resulting in images have a surreal and unexpected twist.

© Clémentine Schneidermann and Charlotte James

© Clémentine Schneidermann and Charlotte James

© Clémentine Schneidermann and Charlotte James

In a new exhibition that celebrates creativity, grit and community, Ffasiwn gives a voice to people, places and self-expression.

Ffasiwn is at National Museum Cardiff from 23 May 2026 until 4 April 2027. For more information and to book your tickets, please visit the Amgueddfa Cymru - Museum Wales website.

First on our journey through the Archaeology stores is the Stone Age (or the Palaeolithic). Here, Elizabeth introduced us to Coygan Cave, an important Middle Palaeolithic cave site (destroyed by quarrying) near Laugharne, Carmarthenshire.

The cave appears to have been used as a den by hyenas for the most part, given the accumulation of large prey animal remains, including those of mammoths, woolly rhinoceros, giant deer, and horse alongside an assortment of small mammals and birds. Remains of some other carnivores were present such as brown bear, wolf, and arctic fox. Equally of note from Coygan are three wonderful examples of so-called bout coupé handaxes, one of which is on display and pictured here. 

Elizabeth kindly took the time to explain how stone tools are made (something which I still find mind boggling) and how to spot signs of their use. Previously, the skeletal remains from Coygan were stored in plastic boxes to keep them in their “comfortable” temperature and humidity ranges. Upgrades to the stores’ environmental conditions meant that the remains could be repackaged into archival cardboard boxes, and the plastic containers repurposed for other artefacts. Jeff and I were tasked to work on rehousing the teeth, bones and coprolites (fossilised dung) whilst tracking their new home location and ticking off each bag of remains from a list. All in all, we transferred over 2,000 bags of remains and managed to reclaim a few shelves of storage space! Having not really considered the life (and death) of prehistoric creatures before, it was humbling (and terrifying) to think of the size and kinds of animals with which Neanderthals and modern humans would have cohabited.

One of our next projects saw us jump forward in time to the Roman occupation of Britain! More specifically, we find ourselves in the Roman city of Venta Silurum, the “market” and administrative capital of the Silures tribe that was established and located in what is now Caerwent.

Large portions of the stone city walls and the foundations of some buildings still stand today – visit and see for yourself! Several excavations were undertaken at Venta Silurum,  first by the Caerwent Exploration Fund (CEF) in 1899-1913 and later by Amgueddfa Cymru from 1981 to 1995. Amongst the discoveries from the later excavations (missed by the CEF!) was the beautiful copper alloy belt-buckle below, which you can read more about here.

Besides the wonderfully decorative metalwork, the Museum’s excavations of the forum-basilica (local government building with an open-air market) at Caerwent uncovered a veritable hoard of……oyster shells, thought to have been consumed by the government officials. Curator and fountain of knowledge for all things store-related, Evan, tasked us with the job of auditing these oyster shells and sorting them by excavation phase. While the work was dusty, it was a great opportunity to learn about the more civil dynamic between Empire and local tribes which contrasts sharply with the military fortification at nearby Caerleon.

The final highlight in this whistle-stop tour through history lands us in the Medieval period, and to a certain degree at the beginning of the Museum’s collections. Museums have long been places for education and for “showing off” artefacts to which most people have little access; Amgueddfa Cymru, in its early years, was no different. Other than acquiring new and unique artefacts, one way that museums and scholars in the 19th century could display or study artistic or archaeological objects was by replication. A noteworthy example of this practice was the making and sale of plaster copies of carved Medieval ivory objects for example. The skilfully furnished copies were called “fictile ivories”. A recent exhibition by the Courtauld Institute of Art and the Victoria & Albert Museums has also explored this topic, which you can read about (and watch) here. A collection of such fictile ivories had been purchased and catalogued by Amgueddfa Cymru (then the Welsh Museum of Natural History, Arts and Antiquities) and has since been housed within the Archaeology Stores, one example being the panel carving of various saints. 

Siân, Senior Curator Collections Development: Medieval, Jeff and I set about scouring the text-only 1902 catalogue of over 130 “ivories” to attempt to match up the descriptions with what we saw in the collection. The reasoning behind this approach was twofold: firstly, to understand which copies were still present in the collections; secondly, to better be able to identify and connect the artefacts to those housed in museums like the V&A and indeed to the original objects from which the replicas were derived. Fortunately, the magic of photography and extensively digitised collections made the work a little easier, as most of the “ivories” and the Museum’s catalogue reference biblical scenes or mythological scenes less known to contemporary audiences (me!). Though a maddening experience of déjà vu and (carefully) rifling through boxes of (sometimes large and unwieldy) casts, I am honoured to have been connected in some small way to part of the early collections of the Museum. The slightly odd-looking faces and unexpected creatures present were certainly a bonus. 

Were it not abundantly obvious – I’ve had a fantastic time volunteering with Amgueddfa Cymru. Not only was it a chance to get up close and personal with some incredible artefacts and pieces of Welsh history, but I’ve also met some amazing and kind people in the Museum staff. Everyone from the Security to the Volunteering team, to the Archaeology department have been generous and welcoming. I shall treasure the time spent laughing and learning in the Archaeology stores (and in the break room!).

A very special thanks go to Elizabeth Walker, Evan Chapman, and Siân Iles without whom I would not have had the pleasure of the above-described adventure, nor would I have understood half of what I do now. Thanks also to Jeff for his friendship, support and, especially, his voice in reading out various numbers and coordinates.

Further Reading:

The Museum’s Collections Online database is a great place to find photos of and information about objects!

Prehistory

[ARTICLE] ‘A Day in Archaeology – Sorting out the storeroom’ by Elizabeth Walker

https://www.archaeologyuk.org/resource/sorting-out-the-storeroom-dr-elizabeth-a--walker--principal-curator--collections---access--amgueddfa-cymru---national-museum-wales-.html

[ARTICLE] ‘The Cave Men of Ice Age Wales’ by Elizabeth Walker

https://museum.wales/articles/1317/The-Cave-Men-of-Ice-Age-Wales/

[ARTICLE] ‘The oldest people in Wales – Neanderthal teeth from Pontnewydd Cave’ by Elizabeth Walker

https://museum.wales/articles/1014/The-oldest-people-in-Wales---Neanderthal-teeth-from-Pontnewydd-Cave/

[VIDEO] Cambrian Archaeological Association Presidential Address 2022 (Elizabeth A Walker): The significance of Welsh Caves to Palaeolithic Archaeology

https://cambrians.org.uk/elizabeth-a-walker-presidential-address-2022/  [Mention of Coygan begins at 27:16]

Roman

[ARTICLE] ‘A Day in Archaeology – The Llantrisant Fawr Hoard’ by Evan Chapman https://www.archaeologyuk.org/resource/llantrisant-fawr-hoard-by-evan-chapman--senior-curator--archaeology-at-amgueddfa-cymru-museum-wales.html

[ARTICLE] ‘Segontium – The Romans in North Wales’ by Evan Chapman

https://museum.wales/articles/1322/Segontium---The-Romans-in-North-Wales/

[ARTICLE] ‘Gelligaer Roman fort’ by Evan Chapman

https://museum.wales/articles/1328/Gelligaer-Roman-fort/

Medieval

[ARTICLE] ‘Medieval Cardiff’

https://museum.wales/articles/1334/Medieval-Cardiff/

[ARTICLE] ‘A Day in Archaeology – Medieval Floor Tiles Project at Amgueddfa Cymru’ by Jennifer Frost (Volunteer)

https://www.archaeologyuk.org/resource/medieval-floor-tiles-volunteering-project-at-amgueddfa-cymru-museum-wales.html

[ARTICLE] ‘A Day in Archaeology – Medieval Floor Tiles Project at Amgueddfa Cymru: Part 2’ by Siân Iles 

https://www.archaeologyuk.org/resource/medieval-floor-tiles-volunteering-project-at-amgueddfa-cymru--part-2--museum-wales-.html

Sources:

Aldhouse-Green, S., Scott, K., Schwarcz, H., Grün, R., Housley, R., Rae, A., Bevins, R. and Redknap, M. 1995. ‘Coygan Cave, Laugharne, South Wales, a Mousterian Site and Hyaena Den: a Report on the University of Cambridge Excavations’, Proceedings of the Prehistoric Society, 61, pp. 37-79.

Guest, P. 2022. ‘The Forum-Basilica at Caerwent (Venta Silurum): A History of the Roman Silures’, Britannia, 53, pp. 227-267.

As part of CELF - Cardiff based graffiti artist RMER ONE was comissioned to create a piece inspired by the national collection and write about his process and inspiration - here is what he created and how he went about it. Read all about it in his own words below

About Me

I am a self taught artist and have been specialising in graffiti art for the past 30 years. From a young age I naturally found that art was my sanctuary, always doodling and creating, but it wasn’t until my teens that I first caught sight of what would become the worldwide phenomenon, Graffiti Art.

For many, graffiti is synonymous with typography, and while I certainly honed my skills and techniques of how to use the spray can and manipulate the paint through letter styles, I was always drawn to the more visual elements of graffiti productions, always in awe of the characters that would be painted to accompany large productions.

In the late 90s, Cardiff based Cruel Vapours graffiti crew was established with Hoxe, Skroe, Foe and Dyes. Our styles were complimentary, but painting as part of a collective gave me the space and freedom to focus more on characters and portraits.

For many years I’ve continued to specialise in portraits, but more recently there has been a progressive evolution into a more introspective viewpoint, focusing on “the skull”. This has now become an ongoing series, almost a trademark of my art.

To me the skull becomes the inner portrait, with no filter of gender, race or difference, simply revealing the underlying beauty we all share as humans.

The Inspiration

The brief for this commission was to be inspired by a piece of art from the art collection at National Museum Cardiff. After exploring the collections I was blown away by the variety of artwork on display.

Two artist whose work really spoke to me were Eugene Carriere and Sawangwongse Yawnghwe, I knew straight away how their unique style could inspire my next painting. Carriere’s out of focus, almost ghost like figurative paintings were just beautiful, and Yawnnghwe’s stylised photorealistic paintings, clashing with harsh graphics shapes really got me thinking.

The Process

I generally work from photographs and manipulate them digitally to create my compositions and determine my colour palette. By designing this way, I create an early view of how the final painting will come to life. This is always an ongoing process where I finesse and evolve the design before I’m ready to put paint to canvas.

From there, the first stage is transferring a line drawing to to blank canvas, I do this using a grid technique. This method helps me maintain the correct proportions by focusing on, and copying, one section at a time. Once the design is sketched up, then its time to bring out the spray cans.

Working with aerosol paint on canvas takes time to master due to the restrictiveness of the smaller surface area. Over the years I’ve experimented with various techniques to manipulate how the paint is applied, always working to get more detail into the final piece.

I generally don’t use stencils but have started to experiment recently, and for the graphic section of this painting the stencil technique worked so well that it’s now something I’d like to bring into more of my future work.

The journey I’ve taken throughout this commission has at times, taken me out of my creative comfort zone, but ultimately has pushed the boundaries of my usual approach and helped me take the leap into a new realm of my style. 

Feeling inspired? What can you find in the national collection that might be the jumping off point you need to try something new?

I started by going to the experts – our potential audience. The Stanwell School Astronomy Club were key to the development of these workshops. In our first session together I introduced the possible collections we could use and they voted for the specimens they found most interesting. 

In their subsequent feedback session, they developed questions they hoped the workshop would answer, and it became clear that having some genuine photographs of the Apollo 12 mission (which collected the Goodwill Moon Rock on display in our Evolution of Wales gallery), would help set the scene. 

With the help of Natural Science curator Dan Cox and the NASA archive, I tracked down images of Astronaut Alan Bean’s time on the lunar surface. He collected the actual Moon rock that is displayed in our Evolution of Wales gallery, so it was great to find photographs of him taking rock samples on the Moon.

Photographs of Apollo 12 astronaut Alan Bean collecting lunar rock samples, courtesy of NASA,  and the Moon Rock on display at National Museum Cardiff

The students had selected examples of replica lunar dust and iron meteorites as some of their favourite items. National Museum Cardiff has an excellent rock and meteorite collection, so to give learners a sense of the lunar landscape, I added some samples of olivine basalt and an unusual rock called anorthosite, both of which can be found on the Moon. Although the anorthosite in our workshop is from Norway, the same rock was found by the Apollo missions in the lunar highlands (which make up the lighter patches we see on the Moon).

Two secondary school teachers then helped to develop the workshop narrative, and we invited Stanwell Astronomy Club back in to test our possible activities.

Testing the workshop with the Stanwell School Astronomy Club

One of the things that delighted me was the enthusiasm the pupils showed for the detailed maps of lunar craters. Robin Maggs from the photography department was able to produce high quality replicas of maps of lunar craters from the 1970s, so students could use these for their own measurements – and learn about our map collection.

Finally, we refined the sessions with help from Tim Curtis, Numeracy Lead at Cardiff West Community High School and his pupils, and hope they will be enjoyed by learners for years to come.

The workshop is truly authentic – it allows pupils to explore photographs of the Apollo missions, maps created at the time, and rock samples from our collections that are so close to the lunar rocks that only a geologist could tell the difference. Real experiences, with real specimens, and real scientific outcomes.

Pupils from Cardiff West Community High School taking part in The Moon, Maps and Meteorites workshop

Find more information on the The Moon, Maps and Meteorites workshop on our Learning pages