Gweni Llwyd

Gweni Llwyd

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25.11.2017 / Efflorescence / Subflorescence   →

Salt is rotting the walls, eating the bricks, leaving a dusty residue on the terazzo and marble. The foundations of Venetian buildings are immersed in sea water, causing a permanent capillary rise. Sea water is being constantly drunk by the buildings. The sulphate from the water attacks and cracks the mortar, the sodium chloride crystallises within stoney surfaces, causing a crunchy coating as soon as the water evaporates. The only way to prevent this is to completely stop the capillary rise, done so using a chemical or mechanical barrier.I can't help but compare the salt coated walls to a skin condition, a psoriasis or an eczema, a deterioration, a flaking of the surface. The building's with poison running through their capillaries and clinging onto their skin. Or maybe 'Rushes Minotaur' has had too much of an effect... 

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05.11.2017 / Freesa  →

While visiting the Arsenale I encountered one of the Tunisian 'The Absence of Paths' kiosks. These kiosks are not the work of any particular artist, but are a result of a project by curator Lina Lazaar. This is the first time Tunisia has been part of the Biennale for 50 years. The kiosks issue 'Freesa's' - fictional universal passports that allow anyone to cross any border. You complete some simple paperwork and are given your document.Intrigued, I walked up to the desk, and caught the woman working behind the desk off guard. She looked tired, and was gathering her things, as though she was attempting to leave the kiosk for a break. I apologised and said I could come back later if she wanted a rest. "If it's not you it will be someone else!" she exclaimed, and went on to explain how the other invigilators who were supposed to be working with her, covering breaks and so on, were unable to get there due to visa complications. Tunisia has access to 63 counties and territories visa free - the U.K. has access to 173. Free movement is something I have always taken for granted. 'The Absence of Paths' inspires hope for a world free of discriminatory travel restrictions and laws. 

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03.11.2017 / Dreaming  →

The screeching of strings echoes through the dark room. A male figure slowly turns to look at me. I wake up. Initially, I’m freaked out. the male figure was a little frightening, sort of resembling Alexander Kaidanovsky’s character in ‘Stalker’, and the sound loud and intense. Then I realise the sound was familiar. It was a snippet from Migratory Motor Complex. The next day I encounter the piece awake (more or less), and can’t stop thinking about how and why I am subconsciously illustrating it. 

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