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- 2017
Part of Layers in the Landscape Archive
The English poster design, 2017, for the ‘Borth's Lost Legends’ exhibition.
Part of Layers in the Landscape Archive
The English poster design, 2017, for the ‘Borth's Lost Legends’ exhibition.
‘Brenin y Coed Môr’ carved sign
Part of Layers in the Landscape Archive
A photograph, 2017, of the carved wooden ‘Brenin y Coed Môr’ (‘King of the Sea Trees’) sign designed and made by Mark Sawyer which was used in the project exhibitions; photograph by Erin Kavanagh.
‘Chwedlau’r Borth a Gollwyd’ poster
Part of Layers in the Landscape Archive
The Welsh poster design, 2017, for the ‘Borth's Lost Legends / Chwedlau'r Borth a Gollwyd’ exhibition.
‘Deep mapping’ and ‘Layers in the Landscape’
Part of Layers in the Landscape Archive
Author's proof copy, 2018, of 'Re-thinking the conversation: a geomythological deep map' by Erin Kavanagh in which she describes the conceptual framework behind her ‘deep mapping’ of Cardigan Bay and explains the activities undertaken by the ‘Layers in the Landscape’ project.
Part of Layers in the Landscape Archive
A poster, 2017, explaining ‘Haenau yn y Tirwedd’ (the Welsh title for the ‘Layers of the Landscape’ project) in Welsh, designed by Erin Kavanagh; the poster was used in the project exhibitions.
‘King of the Sea Trees’ postcard
Part of Layers in the Landscape Archive
A postcard image, 2017, of the ‘King of the Sea Trees’, drawn and designed by Erin Kavanagh with an extract from her poem of the same name; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.
‘King of the Sea Trees’ shanty
Part of Layers in the Landscape Archive
A recording, August 2017, of the 'King of the Sea Trees' shanty, composed and performed by David Moore (under the pseudonym Dafydd Eto) and drawing on traditional songs of the sea in response to Erin Kavanagh's poem of the same name, with the prologue of the poem spoken by Erin Kavanagh and also backing vocals by her; recorded by Jacob Whittaker and used in the project exhibitions.
‘King of the Sea Trees’ textile (1)
Part of Layers in the Landscape Archive
A photograph, 2016, of a textile interpretation by Emily Hawkins of ‘King of the Sea Trees’, produced by her for a Master’s degree and used in the ‘Layers in Lampeter’ exhibition; photograph by Erin Kavanagh.
‘King of the Sea Trees’ textile (2)
Part of Layers in the Landscape Archive
A photograph, 2016, of a textile interpretation by Emily Hawkins of ‘King of the Sea Trees’, produced by her for a Master’s degree and used in the ‘Layers in Lampeter’ exhibition; photograph by Erin Kavanagh.
Part of Layers in the Landscape Archive
A photograph, November 2017, of part of the display at the ‘Layers in Lampeter’ exhibition, including the prehistoric red deer antlers, the ‘Brenin Y Coed Môr’ sign and the 'Time Scroll'; photograph by Erin Kavanagh.
‘Layers in the Landscape’ leaflet (part 1)
Part of Layers in the Landscape Archive
A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.
‘Layers in the Landscape’ leaflet (part 2)
Part of Layers in the Landscape Archive
A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.
‘Mammoth’ sculpture with Valerie Price
Part of Layers in the Landscape Archive
A photograph, 2017, of Valerie Price and her sculpture ‘Mammoth’, which was used in the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.
Part of Layers in the Landscape Archive
A photographic reel, January 2018, containing an account of a live performance entitled ‘Penrolio’ at the castle mound, UWTSD Lampeter, in which R.M. Parry delivered his sculpture, ‘Pen Bendigeidfran’, to the ‘Layers in Lampeter’ exhibition; the performance was inspired by ‘Branwen uerch Lyr’.
Part of Layers in the Landscape Archive
A postcard image, 2017, of ‘Sandstorm’, comprising a poem and a photograph of Borth beach, both by Erin Kavanagh; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.
‘Seithenhin / Seithennin’ poem (Modern Welsh)
Part of Layers in the Landscape Archive
A copy, 2016, of a Modern Welsh translation by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen relating to Seithenhin and the myth of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Middle Welsh rendition and the English translation.
Part of Layers in the Landscape Archive
A copy, 2016, of an English translation by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen relating to Seithenhin and the myth of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Middle Welsh rendition and the Modern Welsh translation.
‘Seithenhin’ poem (Middle Welsh)
Part of Layers in the Landscape Archive
A copy, 2016, of a rendition by Diarmuid Johnson of the Middle Welsh poem in the Black Book of Carmarthen (ff. 53v-54) relating to Seithenhin and the myth of Cantre'r Gwaelod; this version of the poem was used in the project exhibitions alongside the Modern Welsh and English translations.
Part of Layers in the Landscape Archive
‘The Bridge’ / ‘Y Bont’, 2016, a short film created as a ‘deep mapping’ experiment set in Cardigan Bay and which was the pilot for the ‘Layers in the Landscape’ project, having grown out of Erin Kavanagh’s Master’s dissertation at UWTSD; the contributors include Maria Hayes (artwork), Lynne Denman (song), Diarmuid Johnson (flute), Martin Bates (geoscience), Peter Stevenson (narration) and Erin Kavanagh (stills photography and artwork); each commissioned response was integrated into the film to show how an interdisciplinary approach to site specific representation could be achieved in a format that is equally accessible to all sides; filmed and edited by Jacob Whittaker, and produced and directed by Erin Kavanagh.
Part of Layers in the Landscape Archive
A photograph, 2016, of the antlers belonging to a 3,1000-3,300 year-old red deer stag that were discovered at Borth by visitors in the summer of 2016, seen here at Tan-y-bwlch, Aberystwyth, where they were drawn by contributors to the ‘Layers in the Landscape’ project; photograph by Erin Kavanagh.