Community workshop II 'The lost portraits of Wales' (2024)

Description

Collages produced in a community workshop in partnership with the Rhondda Cynon Taf Heritage Service and Rhondda Heritage Park.

The pieces were produced as creative interpretations of and responses to black people's lives in Wales during the eighteenth and nineteenth centuries, such as Justina Jeffreys, Cesar Picton, Amos Brown and John Ystumllyn.

Rhian Hall:
'I was interested in Justina Jeffreys and the story of her life, particularly how she went from living in Jamaica with her parents and brother, to living as an only child in Wales. I can imagine the change in culture and environment was stark and overwhelming. I wanted to incorporate examples of the colours, textures and nature found in Justina’s birthplace, Jamaica, with the Welsh landscape and Glandyfi Castle. You can see the juxtaposition of the bright colours and richness that represent Jamaica, in comparison to depth and darker tones representing Wales. I included intricate drawings and images of Glandyfi Castle to highlight the grand wealth and status she rose to with her husband George Jeffreys. I also included an image of a young boy to represent her brother and the relationship they missed out on having.'

Darren Macey:
'Cesar Picton
It’s clear from his biography that Cesar had an effervescent and likeable character, I felt that the image in the centre of the collage captures these elements of the man. His slight smile and playful gaze in the image portray Cesar as an individual with confidence, intelligence, and panache.
The fabric in the background hint at his African heritage and are allied with an image of folded material which is intended to signify both the texture and blackness of the underground coal seams that provided Picton with the opportunity to generate great wealth.
The images of imposing town houses convey some idea of the wealth Picton would produce from his business dealings notably the letting of his Kingston properties and the renting of the Tolworth cottage during the year that would witness the enactment of the Abolition of the Slave Trade Act. While there is no direct evidence of Picton’s involvement in the abolitionist movement, his actions and demeanour would surely made a compelling case for emancipation.

Amos William Brown
The central image conveys displays Amos as the boxing booth fighter. The red cloth in the bottom right-hand corner signifies both the blood of the boxers and Dragon of Wales. The coal drams and rails in the background lay underneath images of the rugged hills of Welsh Valleys.
The square of grey woolen material in the bottom left-hand corner denotes the skin of the pigs kept by Brown and the film made by Evan Owen Jones during the 1940s. '


Medium: paper, fabric and glue.
Technique: collage.
The workshop took place as part of the Diversity Project of the Dictionary of Welsh Biography, funded through the Anti-Racist Wales Action Plan of the Welsh Government.