It is all sacred. Every hill and every valley. Our land is a living thing, not a grave of forgetfulness under our feet. Every hill has its history, every locality its own romance, every part of the landscape wears its own particular glory. And to a Welshman, no other country can be like this. A Welshman feels that the struggles of his forefathers have sanctified every field, and the genius of his people has transformed every mountain into hallowed ground. And it is feeling like this that will make him a true citizen.
Sir O. M. Edwards.
I work from a concept of painting as metaphor, and use materials that have an encoded meaning to place. The ‘carthen’ signifies the notion of community and protection, hessian and muslin are materials I can remember being used on the farms in Ceredigion, sand and coal signify the land. The coal I use comes from Tower Colliery so it has been extracted from deep within Wales; it is also significant because of its cultural and geological connotations. The sand comes from Aberaeron, the beach where I used to go to as a child.
My work is first and foremost a lament at the passing of time, the physical damage to the environment and the cultural erosion of the landscape of my childhood. ‘Landscape’ includes not only the physical landscape, but also the psychological and cultural terrain.
Anyone who can feel for the life of the Welsh countryside has experienced something too strong and too profound to be ascribed to another world, or another life. Here, in the soil and the dirt and the peat do we find life and heaven and hell, and it is in these surroundings that a Welshman should forge his soul. When the Welsh as a nation were bound to this kind of life, then their souls were strong and deep.