Just as we can hear silence, so also we can see the invisible (Jo Haven-Rhy)
9.00 am. Preparations were afoot for the Open Day. The ritual cake arrangement was well underway. Welsh cakes and bara brith were the specialities today:
9.15 am. I made ready and manned the information desk …
… and opened the galleries:
I applied for BA Fine Art courses directly from School. The careers officers didn’t provide the very necessary advice, namely, that I needed (as was often the case in those days) to take a foundation course before applying for the degree. After my foundation year, I searched for a place that might have me, as far as Maidstone College of Art in the south of England and as close as the Faculty of Arts, Gwent College of Higher Education (where I was presently studying). I chose the latter, and never regretted it.
10.00 am. I’d several very challenging consultations with potential applicants whose position and needs were anomalous. One should do everything possible to accommodate ‘non-standard’ individuals, if it’s genuinely in their interests and doesn’t compromise standards.
11.00 am. Dr Webster prepared for the first of the day’s introductory talks:
I was also ‘Tweet Central’ for the morning. 12.30 pm. Dr Pierse took over from me.
1.40 pm. After lunch, I began work on the image aspect of the Image and Inscription project. In my research card indexes, which I’ve kept since 1984, I located two engravings, from the collection of the National Library of Wales, related to Moses receiving the Ten Commandments on Mount Sinai:
Both illustrations were published around the last quarter of the 19th century in Welsh Bibles. However, they were made by non-Welsh engravers, and originally intended for English language versions of the same. (The vast majority of engravings in Welsh Bibles of this period were similarly sourced.):
In using two English engravings from two Welsh sources, the linguistic/cultural balance of the whole composition is maintained. There must be consistency at all levels, and in every outworking, of the conceptualisation.
3.30 pm. While still Tweeting in the background, I began the process of image sonification, using the data bending that I’d deployed on The Wounded Heart Ministries sound work to turn the engravings into noises:
5.15 pm. ‘Shop Closed’. 6.30 pm. An evening with my wife.