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Yng ngeiriau García-Dory: “Mae’r weithred o atgynhyrchu gwaith blaenorol sy’n bod yn barod yn ddatganaid ynddo’i hun, yn rhoi’r gorau i feirniadaeth a chanolbwyntio sylw ar waith artist arall. Mae gweledigaeth dwfn a byd dychmygol Kraguly yn troi’n gyfrwng i mi feithrin myfyrdod, astudrwydd ac empathi. Trwy gael gwared o’m holl syniadau a chefnu ar y galw i greu ffurf newydd, gall yr artist sy’n ail-greu ganolbwyntio ar y weithred awtomatig ei hun. I mi mae’n gyfle gwych i archwilio’r syniad o’r math o artist yw Kraguly – yn ymroddedig i arbrofi gyda deunyddiau a ffurfiau ail-adroddus – ac hefyd i bonito gyda syniadaeth arall, fod celf yn fodd i gysyniadau neu gymell syniad, gan adlewyrchu ar ieithwedd celf ei hun. Mae’r darnau wedi’u hail-greu, neu, y defnydd o gelfyddyd a strategaethau diwylliannol megis yr amgueddfa laeth a’i raglen gyhoeddus, i fod yn fodd i ysgogi grŵp cymdeithasol penodol a hyrwyddo newid. Gall yr ymwelydd i’r stafelloedd hyn ddilyn llinell di- doredig, lle mae awdur y gwaith yn aneglur; gan adolygu’r ffyrdd mae celf gyfoes yn cael ei wneud a’i brofi.”
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In García-Dory’s words: “The action of reproducing previous existing work is a statement in itself, abandoning all judgment and just concentrating the attention on another artist’s work. The deep vision and imaginary work of Kraguly then becomes a vehicle for me to enter into a state of contemplation, attentiveness and empathy. Emptying oneself and abandoning the demand of giving birth to new form, the re-enacting artist can therefore concentrate on the automatic action itself. For me it’s a great chance to explore that inherited notion of an artist that Kraguly follows – dedicated to experiment with materials and recurrent forms – and also, to bridge the other notions, art as a way to conceptualise or induce an idea, reflecting on the language of art itself. The re-enacted pieces, or, the use of art and cultural strategies such as the dairy museum and its public programme, can be a way to activate a certain social group and promote change. The visitor going through these rooms can follow a discontinuous line, in which authorship is blurred; revising ways contemporary art is made and experienced.”
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