Sgroliwch i lawr am Saesneg / Scroll down for English
Ar ôl cwblhau fy BA ac MA mewn Celfyddyd Gain ym Mhrifysgol Aberystwyth yn 1998, cychwynnais yrfa fel darlunydd, cyn dysgu mewn swyddi yn amrywio o artist preswyl i fod yn bennaeth adran. Yn ystod 2008, astudiais draddodiad clasurol y dull ‘maint-golwg’, sef paentio wrth arsylwi’n uniongyrchol, yn y Charles Cecil Studios, Fflorens. Yna bûm yn gweithio fel artist ffoto-realaidd i Damien Hirst, yn paentio o brintiadau ansawdd uchel. Yn dilyn y cyfle hwn, dychwelais at fy nghrefft gyda phrofiad mewn dulliau paentio cwbl groes. Cychwynnais hefyd ar waith ymchwil ar gyfer fy PhD gyda’r nod o greu techneg oedd yn cyfuno elfennau mwyaf arwyddocaol a chydnaws y ddwy broses.
Wrth edrych ar y berthynas rhwng yr artist a’r gwrthrych mewn paentio bywyd llonydd, ailymwelais â hen ddiddordeb mewn pecynnau tabledi: thema a ddefnyddiais fel canolbwynt yr astudiaeth. Tynnais sylw at yr elfennau ffurfiol mewn paentio, ailadrodd, tensiwn a realaeth, a gweld bod profiadau personol arsylwr yn dylanwadu ar y ffordd y maent yn dehongli’r hyn y maent yn ei weld. Yn dilyn hyn, gwneuthum waith ymchwil semiotig i ganfod sut mae ystyr yn dibynnu ar gof, gwerthoedd a systemau cred.
Daeth cyfres o gyferbyniadau gweledol i’r fei, yn cynnwys dwyn ynghyd ddull cynnil o gyflwyno a dull eithafol o weithio, yn ogystal ag ambell beth i’n hatgoffa’n isymwybodol o fywyd a marwolaeth. Mae’r meddyginiaethau yn cynrychioli’r bobl unigol sy’n eu cymryd, a’r cyflyrau y maent yn cael eu rhoi ar eu cyfer. Fel hyn, mae’r darluniau bywyd llonydd hyn hefyd yn cyfeirio at bortreadu, ac o ganlyniad yn gosod y gwrthrych o fewn dau genre ar yr un pryd.
https://www.aberunidegreeshow.com/anastasia-wildig-phd-main
After completing my BA and MA in Fine Art at Aberystwyth University in 1998, I began my career as an illustrator, before teaching in positions ranging from artist in residence to head of department. In 2008 I studied the classical tradition of the ‘sight-size’ method at The Charles Cecil Studios in Florence, painting from direct observation. I subsequently worked as a photo-realist artist for Damien Hirst, painting from high-resolution prints. As a result of this opportunity, I returned to my practice with an experience in diametrically opposed methods of painting. I also embarked on my PhD research with the aim of formulating a technique that combined the most significant and compatible elements of the two processes.
In examining the relationship between the artist and subject in still life painting, I re-visited a longstanding interest in pill packets: a theme that became the focus for the study. I addressed the formal elements in painting, repetition, tension and realism, and observed that a viewers’ personal experiences influence the interpretation of what they see. This led to a semiotic investigation, identifying how meaning is dependent on memory, values and belief systems.
A series of visual contrasts emerged, including the convergence of minimalist presentation and maximalist application, as well as subliminal reminders of life and death. The medications are representative of the individual people who take them and the conditions for which they are prescribed. In this way, these still life paintings also allude to portraiture, and as a result position the subject within two genres simultaneously.
Aberystwyth University School of Art Museum & Galleries 