Cardiff art: More places to sit

Way back in March, I showed you the Beastie Benches, a series of nine terracotta benches, sculpted by artist Gwen Heeney who got her inspiration from by the mythical creatures in Dylan Thomas’s poem ‘The Ballad of the Long Legged Bait’.

Here is another set of Henney’s wondrous carved brick benches. The simplest of the three (below left) is the Mussel Bench, which pulls together a series of mussel shells to form a bench, but one much more comfortable than the real mussel shells could ever be. I have to say I don’t quite see the shells here but perhaps I should’ve looked more closely at the other side of the bench instead of just sitting on it.

Sitting cheek by jowl with the Mussel Bench is Rhiannon Seating, which is also the collective name for this group of benches located in Barquentine Place, near Cardiff Bay. Rhiannon, which translates as ‘Great Queen’, is a central figure in Welsh mythology, in the stories related in the Mabinogian. She personifies the ancient concept of the Earth Goddess or Earth Mother.

What amazes me with this artwork is the fluidity Heeney has achieved with a material that is, basically, a pile of rectangular, sharp-edged building blocks. Rhiannon looks completely relaxed, enjoying a comfortable snooze in the sun. And those feet! If you tickle them, will the sleeping giantess awaken?

The third bench that completes this 1999 trilogy is Sleeping Partner, a mystical male figure who is also sleeping away his days. It almost seems a shame to sit on him in case he too awakens from his peaceful slumber.

This second terracotta artwork is also for sitting on but it has an entirely different feel to Gwen Heeney’s work. Dating from 1993, designed by Nina Edge and created by ceramicist David Mackie, West Close Square can be found in Cardiff’s inner city suburb of Butetown. It is a multi-cultural community, whose many and varied ethnic roots are reflected in the decoration of the ceramic panels that surround the central circular piece.

                                            

  In an article entitled ‘Pass the Parcel: Art, Agency, Culture and Community’, Nina Edge tells the wonderful story of how this piece came into being through the enthusiasm of a group of creative women from the Butetown community where she was then living:

As far as they were concerned, they had a neighbourhood artist -- like they had a hairdresser, a cook and a singer. They had no interest in approaching other artists. So the administration bent to the gentle insistence of the young women, who in turn knew and pursued the aims of their wider community.
 

The result is West Close Square, an artwork that has transformed a vacant lot on a council estate into a space where the local people can come together ‘to show off, sit, play, chew ghat, smoke weed and meet’.

Cardiff art: the Beastie Benches

Cardiff is blessed with some rather lovely public artworks, none more so than the Beastie Benches, a series of nine carved brick benches that can be found in the Britannia Park and Quay area that runs along two sides of Roath Basin at Cardiff Bay.

These are the work of Welsh sculptor Gwen Heeney, a ceramics expert who specialises in working with brick. Her raw materials, the terracotta bricks, came from Dennis of Ruabon, the very same brick and tile company that supplied the decorative panels for the Bay’s iconic Pierhead building more than a hundred years ago.

The Beastie Benches are aptly named. The Beasts were inspired by the mythical creatures brought to life in ‘The Ballad of the Long Legged Bait’, one of the most well-known of famous Welsh poet Dylan Thomas’s poems. It’s a very long poem, too long to reproduce in full in this post, but here’s a link if you fancy a read. 

The poem’s subject matter has been much discussed by critics since Thomas’s early death in 1953 at just 39 years of age. With allusions to literary and scientific works and the Bible, with plays on words and multiple layers of meaning, it may describe Thomas’s own voyage through life, it could be about a series of sexual experiences and their consequences, or it may relate to the search for salvation through the mortification of the flesh.

Heeney has taken lines and phrases from the poem and allowed her imagination to transform these into the mythical creatures that now provide a welcome place to sit on a sunny day. The names of the benches are fascinating enough in themselves: The lured fish under the foam; Sing and howl through sand and anemone; Thrown to the sea in the shell of a girl; Venus lies star-struck in her wound; Bird after dark; and the laughing fish; In the continent of a fossil; Turns the moon-chained and water-wound Metropolis of fishes; and There is nothing left of the sea.

I dare you to sit on one of these and not be inspired to write your own poem or paint a vivid picture. 

The lured fish under the foam

Sing and howl through sand and anemone

Thrown to the sea in the shell of a girl

Venus lies star-struck in her wound

Bird after dark (It seems the bird has been the subject of some after-dark shenanigans!)

and the laughing fish

In the continent of a fossil

Turns the moon-chained and water-wound Metropolis of fishes

There is nothing left of the sea