CROSS-POLLINATION

Revaluing Pollinators through Arts and Science Collaboration

CROSS-POLLINATION

Revaluing Pollinators through Arts and Science Collaboration

ArtificeBee Line

Buzzing MachineFragile Traces

Glass BeesHoverflies and Forgotten Landscapes

Hoverflies and Bio-mimicry MasqueradesPetal and Ethereal Vessels

Phenomenology of Colour – ResidencyPollinator TrailShimmer Wall

SignalsWhen Less is More

WingsGuest project – Every Last Mouthful

New York – Residency

Y GwneudY Lein Wenyn Peiriant SuoOlion BregusGwenyn GwydrGwybed Hofran a Thirweddau Angof Gwybed Hofran a’r Masgiau BioddynwaredPetal a Llestri Awyrol Ffenomenoleg Lliw - PreswylLlwybr y Pryfed PeillioWal DywynnuSignalauPryd Mae Llai yn FwyAdenyddProsiect gwadd – Pob Llond Ceg OlafNew York – Preswyliad

CROSS-POLLINATION

Cross-pollination

Cross-pollination: Revaluing Pollinators through Arts and Science Collaboration is a pioneering project that combines Art with Science to explore new insights into perceptions of the value of honeybees and wild pollinators and use this new knowledge to influence the conservation research and policy decision-making. It has been funded by both the Arts and Humanities Research Council (AHRC) and the Arts Council of Wales (ACW).

The project is led by Professor Andrea Liggins (Principal Investigator) and Sarah Tombs of the University of Wales Trinity Saint David (UWTSD); in partnership with Professor Mike Christie (Co-Investigator), Aberystwyth University; and Dr Natasha de Vere and staff at the National Botanic Garden of Wales (NBGW). The ultimate aim is to contribute towards the protection of our pollinators, and this catalogue has been produced to support a touring exhibition starting at the NBGW in July 2017 and a conference in November 2017.

“Pollinators are vital, 75%  of food crops are dependent on animal pollination but, globally, we are facing a pollinator crisis due to a perfect storm of habitat loss, intensive agriculture, climate change, pests and disease.” Dr Natasha de Vere

Pollinators contribute 153 Billion Euros to the economy worldwide pollinating 75% of all crops.

Much of our beneficial foodstuffs (e.g. fruit and vegetables) rely on pollinators, increasing our life expectancy and the quality of our lives. Pollinators aren’t just the Honeybees but include Bumblebees, Solitary bees, Hoverflies, Wasps, Butterflies and even a large number of Beetles.

There is evidence to suggest that the ways in which pollinators are perceived and valued has significant implications for their conservation.

Dr Peter Graystock who at the beginning of the project was working at the University of California and is now at Cornell University, New York says that working with artist Dr Tyra Oseng-Rees “has been invaluable in helping me understand people’s perceptions and how a small amount of inspiration can completely change both perception and enthusiasm for a topic.”

Often scientific research results in facts and figures, which are obviously vital, however, working with artists these statistics can be enhanced by the often invisible, information based on emotions, perceptions and connections, as Dr Sarah Beynon describes.

“As an ecologist, entomologist and farmer working on beneficial insects in agricultural systems, I have al-ways been passionate about our insect pollinators. Hay meadows are particularly important for insect pollinators and the Wales Action Plan for Pollinators

states that the value of pollination as a contribution to the UK crop market in 2007 was £430 million. The annual cost of hand pollination, were we to lose this valuable service, has been estimated at £1.8 billion in the UK alone. However, despite all of these facts and figures, the most powerful image of a hay meadow (even to me as a scientist) is a memory of lying in a meadow full of flowers, buzzing with life on a balmy summer day. When compared to a green, barren field, largely devoid of wildlife, the difference is striking and rather frightening. As scien-tists, we often fail to fully inspire people by forget-ting not all of us are motivated by facts and figures!” Dr Sarah Beynon

The Cross-pollination project has provided an opportunity for experts from different disciplines for example prestige and award-winning artists and scientists from the UK and the U.S.A., along with key stakeholders including Dr Beynon’s Bug Farm, the Bumblebee Conservation Trust, the National Botanic Garden of Wales, Buglife, and the Heart of Wales Line (Arriva Trains) to share ideas, discuss values, and develop strategies for inter-disciplinary research and dissemination. This exhibition is the result of collaborative working and the artwork aims to challenge perceptions, extend the reach of the scientific research, demonstrate the benefits that pollinators provide and highlight the decline in pollinator populations.

The Cross-pollination project brought together these

key scientists, artists and stakeholders to participate in a series of exploratory arts workshops that explored theories of aesthetics, sensory perception, differences in perspectives and language, and investigated possible creative interactions and partnerships.

“People often think of scientists and artists as being at opposite ends of the spectrum in their work life, even though they may share the same interests in music, theatre and sports for example. It is true that they can work in very different ways and see the world differently, and even use a different language when talking about their work. However, they share a lot of similarities; they are usually passionate about what they do, and do not often work a 9 to 5 day, but their work can occupy their time, and their thoughts, day and night. Often, for both scientists and artists, their work is a leap into the unknown, and both groups ask the question: ‘What if?’” Professor Andrea Liggins.

Three of the artists involved in the project, Professor Andrea Liggins, Sarah Tombs and Professor Karen Ingham have previously collaborated with Dr Natasha de Vere, Head of Science and Conservation at the National Botanic Garden of Wales and leader of the Saving Pollinators programme, on the Barcode Wales/ UK project, exhibiting the artwork as far afield as China and India. These collaborations have led to the development of this Cross-pollination project. Of particular interest is how such collaborations can affect the way both artists and scientists think about their work.

“Artists and scientists have different training and this affects their views of the world. Working with artists helps me see the work from alternative perspectives, helping me come up with new ideas and think more creatively”, explains Dr Natasha de Vere.

The project is also aimed at encouraging scientists to work more closely with artists and to include artists as integral to future research funding bids and also to include artists onto boards that make policy decisions.

“Over the past 20 years I have been involved in many research projects that have utilised natural science and economic methods to provide evidence to justify and target nature conservation policies. What is novel and exciting about the Cross-pollination project is that we highlight how art can be used to demonstrate a multitude of ways in which people value nature and we can explore how this new evidence might best feed into the design of nature conservation policies”. Professor Mike Christie.

The project is important for a number of reasons:-

• There is a major global pollinator crisis. Although both scientists and artists have researched and produced work in this field, this project is unique in bringing both specialisms together to collaborate

• The collaborations will challenge the artists and scientists from their normal work practice

• The process of the collaboration will be evaluated providing useful guidelines for future arts/science projects, thus making it sustainable

• The arts/science collaboration has ensured extended reach into previously unexplored audiences

• Important links have been made with policy-making organisations/boards concerned with pollinators. Artists are not usually invited onto such boards, the perception being that artists have little to contribute. This project will demonstrate the need for this to change.

The artists involved in the project are – Professor Andrea Liggins, Sarah Tombs, Professor Karen Ingham, Dr Paul Jeff, Professor Catrin Webster, Dr Shelly Doolan, Dr Tyra Oseng Rees, Daniel Trivedy, Jax Robinson, Carly Wilshere and Miles Mansfield, with supporting artists Dan Butler, Dr Laura Jenkins, and Alex Roberts (all residing in Wales with connections to the University of Wales Trinity Saint David). Guest artists at the exhibition are Chatwin:Martin.

The scientists involved are – Dr Natasha de Vere and Laura Jones at the National Botanic Garden of Wales, Dr Sarah Beynon of Dr Beynon’s Bug Farm, Professor Simon Potts, Dr Tom Breeze and Duncan Coston at the University of Reading, Centre for Agri-Environmental Research, Dr Heather Whitney

and Mike Harrap at the Bee Lab, Bristol University, Andrew Lucas of Natural Resources Wales, Dr Peter Graystock at Cornell University, New York, Sinead Lynch of the Bumble Conservation Trust and Michelle Bales of Buglife.

In addition on the project are Environmental Economist Professor Mike Christie Aberystwyth University, linguist Dr Paul Thompson from the University of Birmingham, creative industry expert Dr Sophie Bennett also from Aberystwyth University and Gill Wright leader of the Bee Station Gardens Project at the Heart of Wales Line (Arriva Trains).

The project started with two introductory days to research possible artist/scientist relationships, which led to the production of these artworks and exhibition. Eighteen months ago all the participants came together to share ideas, discuss their wide-ranging research and start the collaboration process. This was achieved through Pecha Kucha presentations and a speed-networking event, as well as many informal discussions.

Since then the artists and scientists have held several meetings and visits culminating in two ‘Art Crits’ to discuss the production of the art pieces and to look at the communication between the disciplines. The Art-crit is a model of learning whereby artists present their work to a group in order to gain feedback on how that work is being ‘read’ and ways that they might develop it further. The work ‘crit’ is a shortened

version of the word critique (not criticism) and is a process in which people discuss ideas stimulated by an art object, drawing, painting etc. It is comparable to the 19th Century Salon, in which intellectuals, writers, artist and critics formed informal meetings to discuss the context, content, and rationale behind an artwork or artefact together with an analysis of its aesthetic properties and visual intent.

The process of artists and scientists working together has been of particular interest, and it is planned that this project will highlight some of the advantages of cross-disciplinary collaboration and also indicate problems encountered, hopefully with solutions for future joint ventures.

There are 16 artists and supporting artists involved with the project, producing 16 projects, plus one guest exhibit. The following pages describe the projects below in more detail.

ArtificeBee LineBuzzing MachineFragile TracesGlass BeesHoverflies and Forgotten Landscapes Hoverflies and Bio-mimicry MasqueradesPetal and Ethereal Vessels Phenomenology of Colour – ResidencyPollinator TrailShimmer WallSignalsWhen Less is MoreWingsGuest project – Every Last MouthfulNew York – Residency

There will be two further projects to be produced by Sarah Tombs and Daniel Trivedy with the scientist Dr Peter Graystock at Cornell University, New York. The artworks will be produced on site in New York and will be exhibited at the conference in November 2017.

Croesbeillio

Mae Croesbeillio: Ailbrisio Pryfed Peillio trwy’r Celfyddydau a’r Gwyddorau’n brosiect arloesol sy’n cyfuno Celfyddyd a Gwyddoniaeth i archwilio canfyddiadau newydd ar werth gwenyn mêl a phryfed peillio gwyllt gan ddefnyddio’r wybodaeth newydd hon i ddylanwadu ar ymchwil cadwraeth a’r penderfyniadau polisi a wneir. Cyngor Ymchwil y Celfyddydau a’r Dyniaethau (AHRC) a Chyngor Celfyddydau Cymru (CCC) a fu’n ei ariannu.

Yr Athro Andrea Liggins (Prif Ymchwilydd) a Sarah Tombs o Brifysgol Cymru Y Drindod Dewi Sant sy’n arwain y prosiect; mewn partneriaeth â’r Athro Mike Christie (Cyd-Ymchwilydd), Prifysgol Aberystwyth; a Dr Natasha de Vere a’r staff yng Ngardd Fotaneg Genedlaethol Cymru. Y nod yn y pen draw yw cyfrannu at amddiffyn ein pryfed peillio, a lluniwyd y catalog hwn i gyd-fynd ag arddangosfa deithiol a fydd yn dechrau yn yr Ardd Fotaneg ym mis Gorffennaf 2017 a chynhadledd ym mis Tachwedd 2017.

“Mae pryfed peillio yn hanfodol, mae 75% o gnydau bwyd yn ddibynnol ar beillio gan anifeiliaid ond, ar lefel fyd-eang, rydyn ni’n wynebu argyfwng pryfed peillio oherwydd storm berffaith colli cynefinoedd, amaethyddiaeth ddwys, y newid yn yr hinsawdd. plâu a chlefyd.” Dr Natasha de Vere

Cyfranna pryfed peillio 153 Biliwn Ewro i’r economi

fyd-eang gan beillio 75% o’r holl gnydau. Mae llawer o’n bwydydd llesol (e.e. ffrwythau a llysiau) yn dibynnu ar bryfed peillio, gan gynyddu ein disgwyliad oes ac ansawdd ein bywydau. Nid yn unig y gwenyn mêl sy’n peillio, ond hefyd y cacwn, y gwenyn unigol, gwybed hofran, picwn, pili-palaod a hyd yn oed nifer fawr o chwilod.

Mae hefyd dystiolaeth i awgrymu bod i’r modd y canfyddir ac y prisir pryfed peillio oblygiadau sylweddol o ran eu cadwraeth.

Yn ôl Dr Peter Graystock, a oedd yn gweithio ym Mhrifysgol Califfornia ar ddechrau’r prosiect ac sydd bellach ym Mhrifysgol Cornell, Efrog Newydd, bu gweithio gyda’r artist Dr Tyra Oseng-Rees “yn werthfawr dros ben gan fy helpu i ddeall canfyddiadau pobl a sut y gall ychydig bach o ysbrydoliaeth weddnewid canfyddiad a brwdfrydedd am bwnc.”

Yn aml, arweinia ymchwil gwyddonol at ffeithiau a ffigurau, sy’n hanfodol wrth reswm, fodd bynnag, wrth weithio gydag artistiaid gellir cyfoethogi’r ystadegau hyn trwy wybodaeth anweledig sy’n seiliedig ar emosiynau, canfyddiadau a chysylltiadau, fel yr eglura Dr Sarah Beynon.

“A minnau’n ecolegydd, entomolegydd a ffarmwr sy’n gweithio ar bryfed buddiol mewn systemau amaethyddol, bu gen i ddiddordeb angerddol erioed yn y pryfed peillio. Mae dolydd yn arbennig

o bwysig i bryfed peillio ac yng Nghynllun Gweithredu Cymru ar gyfer Pryfed Peillio dywedir mai gwerth peillio o ran ei gyfraniad i farchnad gnydau’r DU yn 2007 oedd £430 miliwn. Amcangyfrifwyd mai cost flynyddol peillio â llaw, pe baem ni’n colli’r gwasanaeth gwerthfawr hwn fyddai £1.8 biliwn yn y DU yn unig. Fodd bynnag, er gwaetha’r holl ffeithiau a’r ystadegau hyn, y ddelwedd fwyaf grymus o gae gwair (hyd yn oed i wyddonydd tebyg i mi) yw atgof o orwedd mewn cae llawn blodau, a bywyd yn suo ym mhob man ar ddiwrnod tesog o haf. O’i gymharu â chae gwyrdd, anial, heb fawr ddim bywyd gwyllt, mae’r gwahaniaeth yn drawiadol a braidd yn frawychus. Yn aml rydyn ni wyddonwyr yn methu ag ysbrydoli pobl trwy anghofio nad yw ffeithiau ac ystadegau yn symbylu pawb!” Dr Sarah Beynon

Mae’r prosiect croesbeillio wedi rhoi cyfle i arbenigwyr o wahanol ddisgyblaethau er enghraifft artistiaid sydd wedi ennill bri a gwobrau a gwyddonwyr o’r DU ac UDA, ynghyd â rhanddeiliaid allweddol gan gynnwys Fferm Bryfed Dr Beynon, yr Ymddiriedolaeth Cadwraeth Cacwn, Gardd Fotaneg Genedlaethol Cymru, Buglife, a Lein Calon Cymru (Trenau Arriva) rannu syniadau, trafod gwerthoedd, a datblygu strategaethau ar gyfer ymchwil rhyng-ddisgyblaethol a lledu’r ymchwil hwn. Mae’r arddangosfa hon yn ganlyniad gwaith cydweithredol a nod y gwaith celf yw herio canfyddiadau, estyn cwmpas ymchwil gwyddonol, dangos y budd y mae pryfed peillio yn ei gynnig a

thynnu sylw at y lleihad yn niferoedd pryfed peillio.

Daeth y prosiect croesbeillio â’r gwyddonwyr, artistiaid a rhanddeiliaid allweddol hyn at ei gilydd i gymryd rhan mewn cyfres o weithdai celf archwiliol a ymchwiliai i ddamcaniaethau estheteg, canfyddiad synhwyraidd, gwahaniaethau mewn safbwyntiau ac iaith, ac ymchwiliodd i ryngweithio a phartneriaethau creadigol posibl.

“Yn aml bydd pobl yn meddwl am wyddonwyr ac artistiaid fel rhai sydd ar ddau ben cyferbyniol y sbectrwm o ran eu gwaith, er eu bod efallai’n rhannu’r un diddordebau o ran cerddoriaeth, y theatr a chwaraeon er enghraifft. Mae’n wir eu bod nhw’n gallu gweithio mewn dulliau gwahanol iawn a gweld y byd yn wahanol, a hyd yn oed defnyddio iaith wahanol wrth sôn am eu gwaith. Fodd bynnag maen nhw’n rhannu llawer o bethau tebyg, fel arfer maen nhw’n teimlo’n angerddol am beth maen nhw’n ei wneud, ac fel arfer nid swydd 9 i 5 mohoni, yn hytrach mae’n gallu llenwi’u hamser a’u meddyliau ddydd a nos. Yn aml, i wyddonwyr ac artistiaid mae’u gwaith nhw’n naid i’r tywyllwch, ac mae’r ddau grwp yn gofyn y cwestiwn: ‘Beth pe bai?’ Yr Athro Andrea Liggins.

Mae tair o artistiaid y prosiect, yr Athro Andrea Liggins, Sarah Tombs a’r Athro Karen Ingham wedi cydweithredu’n flaenorol â Dr Natasha de Vere, Pennaeth Gwyddoniaeth a Chadwraeth yng Ngardd Fotaneg Genedlaethol Cymru ac

arweinydd y rhaglen Achub Pryfed Peillio, ar y prosiect Cod Bar Cymru/ y DU, gan arddangos gwaith celf mor bell i ffwrdd â Tsieina a’r India. Arweiniodd y cydweithredu hwn at ddatblygu’r prosiect croesbeillio hwn. O ddiddordeb penodol yw’r modd y gall y cydweithredu hwn effeithio ar y modd y mae artistiaid a gwyddonwyr yn meddwl am eu gwaith.

“Mae artistiaid a gwyddonwyr yn cael eu hyfforddi’n wahanol ac mae hyn yn effeithio ar eu barn am y byd. Mae gweithio gydag artistiaid yn fy helpu i weld y gwaith o safbwyntiau gwahanol, yn fy helpu i lunio syniadau newydd a meddwl yn fwy creadigol,” esbonia Dr Natasha de Vere.

Nod y prosiect hwn hefyd oedd annog gwyddonwyr i weithio’n agosach gydag artistiaid ac i gynnwys artistiaid yn rhan annatod o gynigion arian ymchwil yn y dyfodol a hefyd cynnwys artistiaid ar Fyrddau sy’n gwneud penderfyniadau polisi.

“Dros yr 20 mlynedd diwethaf, rydw i wedi bod yn rhan o nifer o brosiectau ymchwil sydd wedi defnyddio dulliau gwyddoniaeth naturiol ac economaidd i ddarparu tystiolaeth i gyfiawnhau a thargedu polisïau cadwraeth natur. Yr hyn sy’n newydd ac sy’n gyffrous am y prosiect croesbeillio yw ein bod yn tynnu sylw at y modd y gellir defnyddio celfyddyd i arddangos lliaws o ffyrdd lle mae pobl

yn gwerthfawrogi natur a gallwn archwilio’r ffordd orau o fwydo’r dystiolaeth hon i mewn i ddyluniad polisïau cadwraeth natur”. Yr Athro Mike Christie.

Mae’r prosiect yn bwysig am nifer o resymau:-

• Mae’n argyfwng byd-eang mawr ar bryfed peillio. Er bod gwyddonwyr ac artistiaid wedi ymchwilio a chynhyrchu gwaith yn y maes hwn, yr hyn sy’n gwneud y prosiect hwn yn unigryw yw ei fod yn dod â’r naill arbenigedd a’r llall at ei gilydd i gydweithredu • Bydd y cydweithredu’n herio’r artistiaid a’r gwyddonwyr ynghylch eu harferion gweithio arferol

• Caiff y broses gydweithredu ei gwerthuso gan sicrhau canllawiau defnyddiol ar gyfer prosiectau celfyddydau/gwyddoniaeth yn y dyfodol a thrwy hynny ei gwneud yn gynaliadwy.

• Mae’r cydweithredu celfyddydau/gwyddoniaeth wedi sicrhau estyniad pellach at gynulleidfaoedd nad ydynt wedi eu harchwilio’n flaenorol

• Gwnaed cysylltiadau pwysig â sefydliadau/byrddau llunio polisi sy’n ymwneud â phryfed peillio. Fel arfer, ni chaiff artistiaid eu gwahodd ar y byrddau hyn, a’r argraff yw nad oes gan artistiaid lawer i’w gyfrannu. Bydd y prosiect yn dangos bod angen i hyn newid.

Yr artistiaid sy’n rhan o’r prosiect yw – yr Athro Andrea Liggins, Sarah Tombs, yr Athro Karen Ingham, Dr Paul Jeff, Yr Athro Catrin Webster, Dr Shelly Doolan, Dr Tyra Oseng Rees, Daniel Trivedy, Jax Robinson, Carly Wilshere a Miles Mansfield, gyda’r artistiaid cynorthwyol Dan Butler, Dr Laura Jenkins, a Alex Roberts (a phob un o’r rhain yn byw yng Nghymru gyda chysylltiadau â Phrifysgol Cymru Y Drindod Dewi Sant). Yr artistiaid gwadd yn yr arddangosfa yw Chatwin:Martin.

Y gwyddonwyr sy’n rhan o hyn yw – Dr Natasha de Vere a Laura Jones yng Ngardd Fotaneg Genedlaethol Cymru, Dr Sarah Beynon o Fferm Bryfed Dr Beynon, yr Athro Simon Potts, Dr Tom Breeze a Duncan Coston ym Mhrifysgol Reading, Y Ganolfan Ymchwil Amaeth-Amgylcheddol, Dr Heather Whitney a Mike Harrap yn y Labordy Gwenyn, Prifysgol Bryste, Andrew Lucas o Gyfoeth Naturiol Cymru, Dr Peter Graystock ym Mhrifysgol Cornell, Efrog Newydd, Sinead Lynch o’r Ymddiriedolaeth Cadwraeth Cacwn a Michelle Bales o Buglife.

Yn ogystal ar y prosiect mae’r Economegydd Amgylcheddol yr Athro Mike Christie o Brifysgol Aberystwyth, yr ieithydd Dr Paul Thompson o Brifysgol Birmingham, yr arbenigwr ym maes diwydiant creadigol Dr Sophie Bennett hefyd o Brifysgol Aberystwyth a Gill Wright arweinydd y Prosiect Gerddi Gorsafoedd Gwenyn ar Lein Calon Cymru (Trenau Arriva).

Dechreuodd y prosiect gyda dau ddiwrnod rhagarweiniol i archwilio perthnasoedd artistiaid/gwyddonwyr posibl, a arweiniodd at gynhyrchu’r gweithiau celf hyn a’r arddangosfa. Ddeunaw mis yn ôl daeth yr holl gyfranogwyr at ei gilydd i rannu syniadau, trafod eu gwaith ymchwil eang a dechrau’r broses gydweithredu. Gwnaed hyn trwy gyflwyniadau Pecha Kuch mewn digwyddiad gwibrwydweithio, yn ogystal â llawer o drafodaethau anffurfiol.

Ers hynny, mae’r artistiaid a’r gwyddonwyr wedi cynnal nifer o gyfarfodydd ac ymweliadau gan arwain yn y pen draw at ddwy sesiwn ‘Art Crit’ i drafod cynhyrchu darnau celf ac edych ar y cyfathrebu rhwng y disgyblaethau. Dull o ddysgub yw Art-crit lle mae artistiaid yn cyflwyno eu gwaith i grwp er mwyn cael adborth ar y modd y ‘darllenir’ y gwaith hwnnw a’r ffyrdd y gellid ei ddatblygu ymhellach. Talfyriad o ‘critique’ (nid beirniadaeth) yw ‘crit’, a disgrifia broses lle mae pobl yn trafod syniadau a symbylwyd gan werthych celf, darlun, peintiad ac ati. Gellid ei gymharu â Salon y 19eg ganrif, lle creodd deallusion, awduron, artistiaid a beirniaid gyfarfodydd anffurfiol i drafod y cyd-destun, y cynnwys, a’r rhesymwaith sydd wrth wraidd gwaith celf neu arteffact ynghyd â dadansoddi ei briodoleddau esthetig a’i fwriad gweledol.

Bu’r broses o artistiaid a gwyddonwyr yn cydweithio o ddiddordeb mawr, a’r bwriad yw y bydd y prosiect hwn yn tynnu sylw at rai o fanteision cydweithredu trawsddisgyblaethol gan nodi hefyd y problemau a gafwyd, gobeithio, gydag atebion ar gyfer cydfentrau yn y dyfodol.

Mae 16 o artistiaid ac artistiaid cynorthwyol sy’n rhan o’r prosiect, gan gynhyrchu 16 o brosiectau, ynghyd ag un arddangosfa wadd. Yn y tudalennau canlynol, disgrifir y prosiectau isod yn fanylach.

Y GwneudY Lein Wenyn Peiriant SuoOlion BregusGwenyn GwydrGwybed Hofran a Thirweddau Angof Gwybed Hofran a’r Masgiau BioddynwaredPetal a Llestri Awyrol Ffenomenoleg Lliw - PreswylLlwybr y Pryfed PeillioWal DywynnuSignalauPryd Mae Llai yn FwyAdenyddProsiect gwadd – Pob Llond Ceg OlafNew York – Preswyliad

Bydd dau brosiect pellach i’w cynhyrchu gan Sarah Tombs a Daniel Trivedy a’r gwyddonydd Dr Peter Graystock ym Mhrifysgol Cornell, Efrog Newydd. Cynhyrchir y gweithiau celf ar y safle yn New York ac fe’u harddangosir yn y gynhadledd ym mis Tachwedd 2017.

Artifice

Artificial plants have become ubiquitous objects in our everyday environment; synthetic topiary balls seem almost omnipresent and can be readily found outside shops, offices, flats and public houses.

The growing trend towards artificial plants and synthetic grass has become a source of consternation for Daniel Trivedy. The Cross Pollination Project Introductory Days provided the opportunity to situate these observations into a wider context. Drawing from the presentation by Buglife relating to pollinator habitats and Urban Buzz, there was a growing awareness by him that the increase in sales of artificial plants and grass directly undermined the positive awareness work conducted by Buglife.

Artifice consists of a number of absurd and fictitious pollen forms created from artificial plants and synthetic grass. The work references the prevalence of these plastic forms in our everyday environment and a perceived shift in our relationship to nature.

ScientistsMichelle BalesBuglife

Dr Heather Whitney and Mike Harrap Bristol Bee Lab,

Bristol University

Dr Sarah Beynon Dr Beynon’s Bug Farm

ArtistDaniel Trivedy

LinguistDr Paul Thompson University of Birmingham

“It appears that some members of the public want to be surrounded by the forms of nature but in a way that is clean, sterile and user friendly. Artificial plants and synthetic grass have become a sign of gentrification”.

Daniel Trivedy

“The overuse of plastic in modern society is leading to environmental disasters across the planet. Whether it be single use plastic straws for our drinks, disposable cutlery, or plastic micro-beads in our cosmetics, the unnecessary use of plastic is something that must be halted.   It is completely absurd that we feel the need to plasticise nature for our own  visual enjoyment and, to be honest, our own laziness.  Garish plastic plants and lawns look tacky, fade in sunlight and have a limited life, but hey, they don’t need watering or pruning! Natural plants, which bloom year after year, can support a whole  host of life.  Butterflies, bees and hoverflies feed on nectar, while thick-legged flower beetles

Y Gwneud

Bellach mae planhigion artiffisial yn elfennau hollbresennol yn ein hamgylchedd pob dydd; mae peli tocwaith synthetig i’w gweld ym mhobman, fe ymddengys, a cheir digon ohonyn nhw mewn siopau, swyddfeydd, fflatiau a thafarndai.

Mae’r duedd gynyddol at blanhigion artiffisial a gwaith synthetig wedi dychryn Daniel Trivedy. Rhoddodd Diwrnodau Rhagarweiniol Croesbeillio gyfle i osod yr arsylwadau hyn mewn cyd-destun ehangach. Ar sail y cyflwyniad gan Buglife ynghylch arferion peillwyr ac Urban Buzz, daeth yn fwy ac yn fwy ymwybodol bod y cynnydd o ran gwerthiant planhigion a gwair artiffisial yn tanseilio’n uniongyrchol y gwaith cadarnhaol yr oedd Buglife yn ei wneud ym maes ymwybyddiaeth.

Yn arddangosfa Y Gwneud, ceir nifer o ffurfiau rhyfedd a dychmygus sydd wedi eu gwneud o blanhigion artiffisial a gwair synthetig. Cyfeiria’r gwaith at amlder y ffurfiau plastig hyn yn ein hamgylchedd pob dydd a symudiad a nodir o ran ein perthynas â natur.

munch on pollen. Small, iridescent weevils tap into the stems and roots, while metallic leaf beetles munch away on the leaves. Vivid yellow crab spiders hide in their silken lairs spun between  leaves, while our well-loved ladybirds feast on aphids! All of these invertebrates are, in turn, food for birds, reptiles, amphibians and mammals, which flap, leap  and snuffle around gardens, bringing them alive. And what do plastic plants support? Well, I suppose they support the petroleum industry”.

Sarah Beynon

The Bee Line

The heart of Wales Line runs for 120 miles with 30 stations. An initiative co-ordinated by Gill Wright, with a host of volunteers, aims to create bee friendly gardens at each station. In becoming involved in the Cross-pollination project many ideas were discussed, with contributions from artists and scientists. As a result the initiative will be named the Bee Line and will promote the plight of pollinators to all the tourists and travellers on the train journeys, and the local towns and villages. Each station will have an ‘adopted’ bee (Honey, Bumble or Solitary) and supporting artist Alex Roberts is illustrating each selected bee. There are many to choose from with one Honeybee, 24 Bumblebee and around 225 Solitary bee species in the UK.

Andrea Liggins has been photographing the volunteers and the gardens. Andrea believes it is important to foreground the work of volunteers as it is often the unpaid enthusiasts who make a huge difference in environmental works, whether for example Bumblebee counting for the Bumblebee Conservation Trust, clearing rubbish from Nature Reserves, or in this case caring for the station gardens.

ArtistProfessor Andrea Liggins

Supporting ArtistAlex Roberts

StakeholderGill WrightHeart of Wales Line

The Bee Line Project

(Arriva Trains)

“It is an exiting venture photographing the volunteers and the station gardens along such an iconic railway. To publicise the plight of bees in such a novel way and to such a diverse audience makes this initiative unique.”

Andrea Liggins

Y Lein Wenyn

Mae lein Calon Cymru yn rhedeg am 120 o filltiroedd gyda 30 o orsafoedd. Nod menter a gydlynir gan Gill Wright, gyda llu o wirfoddolwyr, yw creu gerddi addas ar gyfer gwenyn ym mhob gorsaf. Wrth ymwneud â’r prosiect croesbeillio, trafodwyd llawer o brosiectau, gyda chyfraniadau gan artistiaid a gwyddonwyr. O ganlyniad, Lein Wenyn fydd yr enw ar y fenter a bydd yn hyrwyddo tynged pob peilliwr i’r holl dwristiaid a’r teithwyr ar y teithiau trenau, a’r trefi a’r pentrefi lleol. Bydd gan bob gorsaf wenyn a ‘fabwysiadwyd’ (Mêl, Cacwn neu Unig) a bydd yr artist cynorthwyol Alex Roberts yn darlunio pob gwenynen a ddewisir. Mae digonedd o ddewis am fod un rhywogaeth o wenyn mêl, 24 o gacwn a rhyw 225 o wenyn unigol yn y DU.

Bu Andrea Liggins wrthi’n tynnu lluniau o’r gwirfoddolwyr a’r gerddi. Ym marn Andrea, mae’n bwysig tynnu sylw at waith gwirfoddolwyr, gan mai’r selogion di-dâl hyn sy’n gwneud gwahaniaeth enfawr i weithiau amgylcheddol, boed yn gyfrif cacwn ar gyfer yr Ymddiriedolaeth Cadwraeth Cacwn, clirio sbwriel o Warchodfeydd Natur, neu yn yr achos hwn gofalu am erddi’r gorsafoedd.

“I am proud to be able to make it possible for the Heart of Wales Railway Line to be part of this wonderful project”

Gill Wright

ArtistsDr Paul JeffDr Laura Jenkins Dan Butler IPCRES (International Project Centre for

Research into Events and Situations)

ScientistsDuncan Coston and scientists Simon Potts & Dr Tom Breeze at University of Reading

Buzzing Machine

In 1922 the painter Paul Klee made a small pen and ink drawing on watercolour. It was called The Twittering Machine, and seems to show a group of birds tethered to a hand cranked machine. Although there are many interpretations of this painting it can be said that it represents some kind of relationship between nature and industrialization, or perhaps a world where the work of man and the work of nature struggle to exist in some sort of harmony. The presence of a handle indicates that this delicate balance of nature and machine needs the hand of humanity to intervene, to take control and to create the balance that is needed for the whole arrangement to work.

In co-operation with scientist Duncan Coston the artists have re-designed and made a Buzzing Machine in order to carry on Klee’s work of drawing attention to the fragile balance between nature and our industrialized environment. This work is particularly concerned with the conservation of our bee population, raising awareness and educating people about the importance of bee cross-pollination in relation to our foodstuffs.

Peiriant Suo

Yn 1922 gwnaeth y peintiwr Paul Klee ddarlun bach pin ac inc ar ddyfrlliw. Y Peiriant Trydar oedd enw’r gwaith, a’r argraff a geir yn gyntaf yw ei fod yn dangos grwp o adar sydd wedi eu clymu wrth beiriant sy’n cael ei grancio â llaw. Er bod llawer o wahanol ddehongliadau o’r llun hwn, gellir dweud ei fod yn cynrychioli rhyw fath o berthynas rhwng natur a diwydianeiddio, neu efallai byd lle mae gwaith dyn a natur yn ymdrechu i gydfodoli mewn rhyw fath o gytgord. Mae presenoldeb dolen yn dangos bod angen ar gyfer y cydbwysedd bregus rhwng natur a’r peiriant i law ddynol ymyrryd, i gymryd rheolaeth a chreu’r cydbwysedd sydd ei angen ar gyfer trefniad cyfan y gwaith.

Gan gydweithredu â’r gwyddonydd Duncan Costan, mae’r artistiaid wedi ailddylunio ac wedi gwneud Peiriant Suo er mwyn parhau â gwaith Klee o dynnu sylw at y cydbwysedd bregus rhwng natur a’n hamgylchedd diwydiannol ni. Mae’r gwaith hwn yn ymwneud â chadwraeth ein poblogaeth gwenyn gan godi ymwybyddiaeth ac addysgu pobl ynghylch ein bwydydd.

The whole process has been a big eye opener to me and I hope to continue collaborating with the arts and across other disciplines through my career.

Duncan Coston

Fragile Traces

For the cross pollination project Carly Wilshere has drawn inspiration from visits to Dr Sarah Beynon’s Bug Farm, where a substantial collection of butterflies is housed, and from visits to the butterfly house in the National Botanical Garden of Wales. She has always had a fascination with glass cases in which butterflies and insects are carefully pinned, preserved and displayed. Carly played with this idea to create photograms, marking the fragile existence of native butterflies and pollinators. The technique is almost like an X-ray revealing delicate details and portraying the butterflies vulnerability. Yet it also reveals their strength, close ups exposing scales, which are akin to armour. This inspired her to create glass butterfly armour pieces and spinal sculptures revealing the butterfly’s inner strength, echoing the Chaos Theory or ‘Butterfly Effect’ in which a butterfly’s delicate flutter can create a tornado on the other side of the world. Carly has created other pieces using direct prints from butterfly wings.

Olion Bregus

Daeth ysbrydoliaeth prosiect croesbeillio Carly Wilshere o’i hymweliadau â Fferm Bryfed Dr Sarah Beynon, lle cedwir casgliad sylweddol o bili-palaod, ac o ymweliadau â Phlas Pil-pala yng Ngardd Fotaneg Genedlaethol Cymru. Bu ganddi ddiddordeb erioed yn y casys gwydr lle caiff pili-palaod a phryfed eu pinio, eu cadw a’u harddangos yn ofalus. Chwaraeodd Carly gyda’r syniad hwn i greu ffotogramau, sy’n nodi bodolaeth fregus pili-palaod a pheillwyr brodorol. Mae’r dechneg bron yn debyg i belydr-X ar gyfer datgelu manylion cywrain a chyfleu breuder y pili-palaod. Fodd bynnag, mae hefyd yn datgelu eu cryfder, a lluniau agos yn dangos cenau, sy’n debyg i arfwisg. Hwn oedd y sbardun i greu darnau arfwisg wydr a cherfluniau cefn sy’n datgelu cryfder mewnol y pili-pala, gan adleisio’r Ddamcaniaeth Anhrefn neu’r ‘Effaith Pili-Pala’ lle gall siffrwd ysgafn pili-pala greu tornado ym mhen draw’r byd. Mae Carly wedi creu darnau eraill gan ddefnyddio printiau uniongyrchol o adenydd pili-palaod.

ArtistCarly Wilshere-Butler

ScientistsDr Natasha De VereNational Botanic Garden of Wales

ScientistsDr Sarah BeynonDr Beynon’s Bug Farm

Glass Bees

The general public are often unaware of the range of species of bumblebee nor that two species of the 28 in the UK have already become extinct. This project has two aims a) to explore, with a positive approach, the fragility of these amazing creatures and b) demonstrate the variety that exists among the 26 species of bumblebee currently in the UK.

Tyra and Carly have made different bumblebees using a combination of fused recycled glass and enamelled wiring. Bottle glass has been collected cleaned and crushed, then mixed with some colouring, moulded and fired in a kiln. The wings, legs and antenna were made of enamelled steel wiring.

The bees shown in the exhibition illustrate the variations of the bumblebees through sizes, colour of the banding, shapes of the antenna to distinguish between males and females, pollen baskets for queens and workers for the social bee species and darker colours of the wings for cuckoo bees, and are made of fragile, recycled glass.

“Despite always been attentive to environmental matters I had no prior knowledge to pollinators other than their massive decline. Working with Peter and Sinead have open up a new world for me learning about bumblebees. I hope that this project will educate and excite everyone in the same way I have become excited in preserving the bumblebees.”

Tyra Oseng-Rees

ArtistDr Tyra Oseng-Rees

Supporting ArtistCarly Wilshere-Butler

ScientistsDr Peter Graystock Department of Entomology

Cornell University

New York, U.S.A.

Sinead Lynch from the Bumblebee

Conservation Trust

Gwenyn Gwydr

Yn aml mae’r cyhoedd yn anymwybodol o amrywiaeth y rhywogaethau cacwn na bod dwy rywogaeth o blith yr 28 yn y DU eisoes wedi diflannu. Dau nod sydd i’r prosiect hwn a) archwilio, mewn modd cadarnhaol, freuder y creaduriaid anhygoel hyn a dangos b) yr amrywiaeth sy’n bodoli rhwng y 26 rhywogaeth o gacwn sy’n bodoli ar hyn o bryd yn y DU.

Mae Tyra a Carly wedi creu gwahanol gacwn trwy ddefnyddio cyfuniad o wydr wedi ei ailgylchu a gwifrau wedi eu henamlo. Casglwyd gwydr potel a’i lanhau a’i falu, ac wedyn ei gymysgu ag ychydig o liw, wedi ei fowldio a’i danio mewn odyn. Gwnaed yr adenydd, coesau a’r teimlyddion o wifrau dur wedi eu henamlo.

Mae’r gwenyn a ddangoswyd yn yr arddangosfa yn egluro’r amrywiadau ar y cacwn o ran maint, lliw y bandiau, ffurfiau’r teimlyddion i wahaniaethu rhwng gwrywod a benywod, basgedi paill i freninesau a gweithwyr ar gyfer rhywogaeth gwenyn cymdeithasol a lliwiau tywyllach adenydd ar gyfer gwenyn cwcw, ac sydd wedi eu gwneud o wydr bregus a ailgylchwyd.

“Working with Tyra has been a great experience, from seeing her become inspired by the nature and diversity of wild bees, to then seeing that inspiration being creatively channelled into these remarkable sculptures from recycled glass. Tyra has been invaluable in helping me understand people’s perceptions and how a small amount of inspiration can completely change both perception and enthusiasm for a topic.”

Peter Graystock

Hoverflies and Forgotten Habitats

Professor Andrea Liggins and Andrew Lucas explored their combined research in the creation of photographic artworks that promote the often forgotten and neglected habitats of the hoverfly. To plan for the art project two sites were visited on a wet and cold day, more like November than July, a day when all the hoverflies were sheltering in among the thickets of brambles. Andrew works for Natural Resources Wales and his doctorate research is focussed upon the habitats suited to hoverflies, using DNA Barcoding (with Dr Natasha de Vere of the National Botanic Garden of Wales) he is investigating the flower preferences of the different species of hoverfly at several sites across South West Wales. Andrea’s research identifies those non-picturesque landscapes that are not usually painted or drawn but are so important environmentally, for example the hedgerows, the lowland peat–bogs and flowering pastures. Her quest has been to find ways of photographing such places to show their beauty and value. Andrea’s previous photography shows a landscape to look out from - not at, and is not about what a place looks like but what it feels to be immersed within the undergrowth. Her work celebrates the messiness of nature, its clutter and unpredictability, well suited to the habitat that hoverflies are drawn to.

There are over 250 species of hoverfly in the UK, many pass by unnoticed and are given very little thought or value, by most people. However, research shows that hoverflies are very important to pollination. To explore their variety and individuality Andrea has produced photographic portraits of hoverfly faces, which she is exhibiting next to photographs of the landscapes in which they have been found.

ArtistProfessor Andrea Liggins

ScientistAndrew LucasNatural Resources Wales

“The two sites I photographed are both places that are not seen as picturesque and wouldn’t draw hoards of tourists and photographers. To me, however, they were magical places of quiet, hidden beauty. This collaboration has given me the opportunity to apply my research to a really important science project and has enlightened me to the importance of the fascinating hoverfly.”

Andrea Liggins

ArtistProfessor Andrea Liggins

Gwybed Hofran a Chynefinoedd Angof

Archwiliodd yr Athro Andrea Liggins ac Andrew Lucas eu gwaith ymchwil cyfunol trwy greu gweithiau celf ffotograffig sy’n hyrwyddo cynefinoedd y gwybedyn hofran, a anghofir ac a esgeulusir yn aml. Er mwyn cynllunio ar gyfer y prosiect celf, ymwelwyd â dau safle ar ddiwrnod gwlyb ac oer, a oedd yn debycach i fis Tachwedd na Gorffennaf, diwrnod pan oedd yr holl wybed hofran yn cysgodi ymhlith y dryslwyni’r mieri. Gweithia Andrew i Gyfoeth Naturiol Cymru a chanolbwyntiodd ei ymchwil doethurol ar y cynefinoedd a oedd yn addas i wybed hofran, gan ddefnyddio Codau Bar DNA (gyda Dr Natasha de Vere o Ardd Fotaneg Genedlaethol Cymru) mae’n ymchwilio i ddewisiadau blodau’r gwahanol rywogaethau o wybed hofran ar draws de-orllewin Cymru. Noda gwaith ymchwil Andrea y tirweddau hynny sydd heb brydferthwch arbennig ac nad yw pobl yn eu peintio nac yn tynnu llun ohonyn nhw fel arfer, er enghraifft cloddiau, mawnogydd iseldir a phorfeydd sy’n blodeuo. Ei hymgais hi fu darganfod ffyrdd o dynnu llun o’r lleoedd hyn i ddangos eu harddwch a’u gwerth. Yn ffotograffiaeth flaenorol Andrea, dangosir tirwedd i edrych allan oddi wrthi – yn hytrach nag edrych arni, ac nid yw’n ymwneud ag edrychiad y lle ond â’r teimlad o ymdrochi yn yr isdyfiant. Dathla ei gwaith lanastr natur, ei hannibendod a’i gwedd annisgwyl, sy’n cyd-fynd yn dda iawn â’r cynefin y denir gwybed hofran ato.

Mae dros 250 o rywogaethau o wybed hofran yn y DU, mae llawer yn mynd heibio yn ddiarwybod heb fawr o feddwl na gwerth i’r rhan fwyaf o bobl. Fodd bynnag, yn ôl yr ymchwil mae gwybed hofran yn bwysig iawn i beillio. Er mwyn archwilio eu hamrywiaeth a’u hunigolrwydd, mae Andrea wedi cynhyrchu portreadau ffotograffig o wynebau gwybed hofran, ac mae hi’n arddangos y rhain ger ffotograffau’r tirweddau lle y’u cafwyd.

“I’ve really enjoyed working with Andrea. I’ve visited the flower-rich pastures where I do my research dozens of times now, but her photographs have given me a completely different perspective on these beautiful, and now rare, habitats. Not only that, but I have been using her photographs in talks/papers about the science we are doing, and give our audiences the real ‘feel’ of these very special places.”

Andrew Lucas

Hoverflies and Bio-mimicry Masquerades

Hoverflies are essential but under valued pollinators. Incredible bio-mimics, they are often mistaken for bees and wasps. This is because they are a prime example of Batesian mimicry, mimicking dangerous species as protection from predation. They also have a voracious appetite for garden pests like Aphids. Over 250 species have been recorded in the UK, and more than 85 species have been found in a single garden. In this sense they are ‘promiscuous pollinators’, pollinating a wide range of plants. This is elegantly illustrated in the research of Dr. Natasha DeVere and Andrew Lucas with their Hoverflies ‘barcodes’, part of the groundbreaking Barcode Wales project. It is the Hoverfly’s ability to change its appearance, its ‘bio-mimicry masquerading’ that fascinates Karen Ingham and that she has explored in this digital textiles based project, which extends her earlier research in ‘Pollinator Frocks’ www.kareningham.org.uk/pollinator-frocks

Ingham has worked with a design concept that plays on the remarkable skill of Hoverflies in mimicking so many other pollinating insects, alluding to a DNA spiral and the metamorphic changes from a simple brown Rhingia species to the bee like Volucella bombylans. She was also interested in using the bioinformatics data of De Vere and Lucas, which graphically demonstrates the breadth and importance of the Hoverflies pollination habitat. These informatics barcodes have been integrated into a retro style gingham picnic cloth that acts as a reminder to ‘think before you swat’ as many Hoverflies are mistakenly killed by the public who think they are bees or wasps.

ArtistProfessor Karen Ingham

ScientistsDr. Natasha de Vere National Botanic Garden of Wales

and Andrew LucasNatural Resources Wales

“Although I’ve worked on pollinator projects before, and am relatively well informed, it was a revelation to learn about the incredible ability of Hoverflies to mimic so many other pollinating insects.   Not only are Hoverflies accomplished ‘bio-mimics’ but as the research of Andrew Lucas and Dr. Natasha DeVere demonstrates, Hoverflies are important ‘promiscuous pollinators’, vital to the pollination of many of our most important plant species.”

Karen Ingham

ArtistProfessor Karen Ingham

ScientistsDr. Natasha de Vere National Botanic Garden of Wales

and Andrew LucasNatural Resources Wales

Gwybed Hofran a’r Masgiau Bioddynwared

Mae gwybed hofran yn beillwyr hanfodol ond sydd heb eu gwerthfawrogi’n llawn. Bioddynwaredwyr anhygoel yw’r rhain, fe’u camgymerir yn aml am wenyn a phicwn. Y rheswm am hyn yw eu bod nhw’n enghreifftiau arbennig o ddynwared Batesaidd, gan ddynwared rhywogaethau peryglus i’w hamddiffyn rhag ysglyfaethwyr. Hefyd mae ganddyn nhw chwant rheibus am blâu’r ardd megis pryf glas. Cofnodwyd dros 250 o rywogaethau yn y DU, a daethpwyd o hyd i fwy na 85 o rywogaethau mewn un ardd. Ar yr ystyr hon, ‘peillwyr amlgymharus’ yw’r rhain, sy’n peillio amrywiaeth eang o blanhigion. Eglurir hyn yn urddasol yng ngwaith ymchwil Dr Natasha DeVere ac Andrew Lucas gyda’u ‘codau bar’ Gwybed Hofran, sy’n rhan o’r prosiect arloesol Cod Bar Cymru. Gallu’r gwybedyn hofran i newid ei bryd a’i wedd, ei ‘fasg bioddynwaredol’ sydd wedi dal sylw Karen Ingham ac mae hi wedi archwilio hyn yn y prosiect hwn sy’n seiliedig ar decstilau, sy’n ymestyn ei hymchwil cynharach ym maes ‘Ffrogiau Peillio’. www.kareningham.org.uk/pollinator-frocks

Mae Ingham wedi gweithio gyda chysyniad dylunio sy’n chwarae ar fedrusrwydd gwybed hofran wrth ddynwared cynifer o bryfed peillio eraill, gan gyfeirio at droell a’r newidiadau metamorffig o’r rhywogaeth frown Rhingia i’r Volucella bombylans sy’n debyg i wenyn. Roedd ganddi ddiddordeb hefyd mewn defnyddio data biowybodeg De Vere a Lucas sy’n dangos yn eglur led a phwysigrwydd cynefin peillio Gwybed Hofran. Integreiddiwyd y codau bar hyn ar ddull retro lliain picnic Gingham sy’n atgoffa pobl i ‘feddwl cyn lladd’ gan y caiff nifer o wybed hofran eu lladd gan y cyhoedd sy’n credu mai gwenyn neu gacwn ydyn nhw.

We need to get the message out about how crucial pollinators are and this art-science collaboration with Karen is a fantastic way to do that. Hoverflies are critically important and we need to know much more about the plants they visit. Karen’s work celebrates these fabulous creatures allowing us to enjoy their amazing diversity.”

Natasha de Vere

Ethereal Vessels

Dr Heather Whitney and Mike Harrap, researchers at Bristol University Bee Lab, are investigating the multimodal ‘cues’ that pollinators use to find flowers and collect pollen and nectar. The Bee Lab’s research involves looking at floral temperature by using thermal imaging on flowers, floral colour and floral surface texture to understand how bees are able to locate and learn flower identity and location of nectar and pollen. 

One aspect of the Bee Lab’s research involves casting the surface of petals using a process that mirrors sculptural methods, and which inspired Tombs to develop a body of work. The result is a group of petal forms that explore surface texture and fragility using a range of materials that include wax, stone, and glass.

Scattered petals float on the surface of the dipping pool in the Double Walled Garden. The petals, made in wax are exposed to the environment  and will breakdown with time. Their decline is a reminder of the consequences of monoculture planting and the fragility of ecosystems.

Petal

One aim of this project is to encourage access to the artworks through a programme of multi sensory workshops, which was the catalyst for Sarah Tombs’s stone petal.  Tombs looked closely at numerous petal shapes and surfaces and has created a smooth stone organic form by carving stone. Its surface is intended to be explored through touch.

“I looked at the delicate structure of petals, and how quickly the surface breaks down once picked. I wanted to embody the idea of demise in the confetti-like wax forms as a metaphor -  a warning to steer away from planting monocultures and to encourage biodiversity in plant cultivation.”

Sarah Tombs

ArtistSarah Tombs

ScientistsDr Heather Whitney and Mike Harrap Bristol Bee Lab,

Bristol University

Dr Natasha de Vere National Botanic Garden of Wales

Michele Bales Buglife

Llestri Awyrol

Mae ymchwilwyr yn Labordy Gwenyn Prifysgol Bryste, Dr Heather Whitney a Mike Harrap, wrthi’n ymchwilio i ‘giwiau’ amlfodd a ddefnyddia peillwyr i ddod o hyd i flodau a chasglu paill a neithdar. Mae ymchwil y Labordy Gwenyn yn cynnwys ystyried tymheredd fflurol trwy ddefnyddio delweddau thermal ar flodau a gweadedd arwyneb fflurol i ddeall sut y gall gwenyn ddod o hyd i flodau a dysgu adnabod blodau a lleoliad neithdar a phaill. 

Mae un agwedd ar ymchwil y Labordy Gwenyn yn cynnwys bwrw arwyneb petalau gan ddefnyddio proses sy’n dynwared dulliau cerflunio, a dyna a ysbrydolodd Tombs i ddatblygu corff o waith. Y canlyniad yw grwp o ffurfiau petalau sy’n archwilio gwead arwyneb a breuder gan ddefnyddio ystod o ddeunyddiau sy’n cynnwys cwyr, carreg, a gwydr.

Arnofia petalau gwasgaredig ar arwyneb pwll trochi yn yr Ardd Wal-ddwbl. Mae’r petalau, sydd wedi eu gwneud o gwyr, yn agored i’r amgylchedd a byddant yn darfod gydag amser. Mae eu dirywiad yn ein hatgoffa o ganlyniadau plannu ungnwd a breuder ecosystemau.

Petal

Un o amcanion y prosiect hwn yw annog mynediad i weithiau celf trwy raglen o weithdai amlsynhwyraidd, sef y catalydd ar gyfer petal carreg Sarah Tombs. Edrychodd Tombs yn agos at nifer o ffurfiau Ac arwynebau petalau ac mae wedi creu ffurf organig lefn trwy gerfio carreg. Y nod yw archwilio’r arwyneb trwy gyffwrdd.

“When carving stone the form is ‘found’ physically through contact with the stone’s surface, smoothing it in the process of carving and sanding down the form.  It is a tactile process and I invite people to ‘find’ the undulating form by touching the piece gently and slowly, perhaps with eyes shut.”

Sarah Tombs

“It’s great to see how these concepts we are researching in the Bee Lab, such as cues humans don’t experience and multimodal cues, can be presented to a new audience through this artwork.”

Mike Harrap

Phenomenology of Colour

Painting’s ability to evoke and stimulate the senses has been a fundamental aspect of my work for the past 20 years, which is centred on perception of place. Catrin has explored how painting and sound can be correlated in projects such as 1000 Colours Blue, (2012) and is interested in the tension between the phenomenology of experience and the potential of painting to translate and communicate this.

Catrin will be producing works during a residency at the National Botanic Garden of Wales in August 2017.

The opportunity to work with scientists and artist from a variety of disciplines around the theme of ‘pollinator’s has enabled Catrin to gain a rich understanding of an alternative but interrelated sensory world. One key idea stimulated from these dialogues and insights has been to think about colour as iridescent (refracted light) rather than as purely reflective (paint). Catrin wishes to experiment with creating textured surfaces, on metal for example, to make reflected light as iridescent colour together with using paint – as a means to explore and alternative perception of place. In addition, the opportunity to extend this research into a multi-sensory installation in the Botanical Gardens is a very exciting prospect, where sent, sound, surface and colour could all be utilised to create an experience which can be appreciated by a wide audience, including those who are visually or physically impaired.

Ffenomenoleg Lliw

Mae gallu peintiadau i gyfleu a chyffroi’r synhwyrau wedi bod yn elfen sylfaenol o waith yr Athro Webster ers 20 mlynedd, a’r gwaith hwnnw’n canolbwyntio ar ganfyddiad lle. Mae Webster wedi archwilio sut y gellid creu cydberthynas rhwng peintio a sain mewn prosiectau megis 1000 Colours Blue (2012) ac mae ganddi ddiddordeb yn y tyndra rhwng ffenomenoleg profiad a photensial peintio i gyfieithu a chyfleu hyn.

Bydd Webster yn creu gweithiau yn ystod preswyliad yng Ngardd Fotaneg Genedlaethol Cymru ym mis Awst 2017.

Mae’r cyfle i weithio gyda gwyddonwyr ac artist o amrywiaeth o ddisgyblaethau o gwmpas thema ‘pryfed peillio’ wedi ei galluogi hi i ennill dealltwriaeth gyfoethog o fyd synhwyraidd arall ond sy’n rhyngberthyn. Un syniad allweddol a symbylwyd trwy’r deialogau a’r canfyddiadau hyn fu meddwl am liw yn symudliw (golau plyg) yn hytrach na hollol adlewyrchol (paent). Dymuna Webster arbrofi gyda chreu arwynebau gweadog, ar fetel er enghraifft, i wneud golau plyg yn symudliw ar y cyd â defnyddio paent – yn ffordd o archwilio a chanfyddiad arall o le. Yn ogystal, mae’r cyfle i estyn yr ymchwil hwn i osodiad amlsynhwyraidd yn yr Ardd Fotaneg yn gyfle cyffrous, lle gellid defnyddio aroglau, arwyneb a lliw i greu profiad y gall cynulleidfa ehangach ei gwerthfawrogi, gan gynnwys y rhai sydd â nam ar eu golwg, neu nam corfforol.

ArtistDr Catrin Webster

ScientistsDr Heather Whitney and Mike Harrap Bristol Bee Lab,

Bristol University

ScientistsDr Natasha de Vere National Botanic

Garden of Wales

Michele Bales Buglife

Pollinator Trail

Dr Beynon’s Bug Farm Pollinator Trail will encourage members of the public visiting The Bug Farm to explore the Bug Farm Trail using the senses of an insect pollinator moving from one piece of artwork to another and seeing the world from a pollinator’s-eye-view. Moving through wildflower meadows managed for pollinators, passing bee hives, solitary bee nests, bumblebee nests and hoverfly nests, this truly immersive journey leads people into the hidden world of life in the undergrowth.

This project is has seen students from UWTSD, Swansea College of Art respond to specific locations at Dr Beynon’s Bug Farm.  Each student has created work for the site that engages with visitors in several ways.

Myles Mansfield is an artist based in Carmarthen-shire, South Wales and  gained his degree at Swansea College of Art. He creates sculptures in recycled steel both using his experience of working with metal in the automotive industry and  knowl-edge gained studying for his Fine Art degree. Dem-ian Johnstone and John Anthony have been using discarded material found on the farm to create habitats in situ to attract pollinators.

Llwybr y Pryfed Peillio

Bydd Llwybr Pryfed Peillio Fferm Bryfed Dr Beynon yn annog y cyhoedd sy’n ymweld â’r Fferm Bryfed i archwilio Llwybr y Fferm Bryfed gan ddefnyddio synhwyrau pryf peillio wrth symud o’r naill ddarn o gelf i’r llall a gweld y byd o safbwynt pryf peillio. Gan symud trwy gaeau o flodau gwyllt a reolir ar gyfer pryfed peillio, a mynd heibio i gychod gwenyn, nythod gwenyn unigol, nythod cacwn a nythod gwybed hofran, bydd y daith yn fedydd tân go iawn gan arwain pobl i fyd cuddiedig bywyd yn yr isdyfiant.

Ar gyfer y prosiect hwn mae myfyrwyr o’r Drindod Dewi Sant, Coleg Celf Abertawe yn ymateb i leoliadau penodol ar Fferm Bryfed Dr Beynon.  Mae pob myfyriwr wedi creu gwaith i’r safle sy’n ymwneud ag ymwelwyr mewn nifer o ffyrdd

Miles Mansfield yn artist sy’n byw yn Sir Gaerfyrddin ac enillodd ei radd yng Ngholeg Celf Abertawe. Mae’n creu cerfluniau mewn dur a ailgylchwyd gan ddefnyddio ei brofiad o weithio â metel yn y diwydiant moduro a’r wybodaeth a enillodd wrth astudio ar gyfer ei radd mewn Celfyddyd Gain. Mae Demian Johnstone a John Anthony wedi bod yn defnyddio deunydd a daflwyd ac a gafwyd ar y fferm i greu cynefinoedd yn y safle i ddenu pryfed peillio.

Coordinating ArtistSarah Tombs

ArtistsMyles Mansfield, Demian Johnstone and John Anthony

Scientist Dr Sarah BeynonDr Beynon’s Bug Farm

“The concept of creating sculptures of insects from recycled materials seems especially apt in an age when ecological issues have cultural significance and play a part in many of the important discussions about global matters. The production of large scale sculptures of insects, especially pollinators such as bees, helps to highlight their importance near the base of most food chains on our planet.” 

Miles Mansfield

Shimmer Wall

The relationship between flowers and their pollinators is often an intricate one that has evolved symbiotically. Particular plant species have their favoured pollinators and use a variety of signals to attract them. There is an analogy to be drawn between the way that flowers use multiple cues to attract insects and complex forms of advertising.

The Bee Lab based at Bristol University is currently conducting research into the signals used by pollinators to find flowers. Daniel was intrigued by the use of resin discs in Flight Arena experiments that tries to establish the role structural iridescence plays in pollination.

Shimmer Wall is an installation of multiple resin discs cast from the surface of flower petals. The work references traditional forms of advertising and the role petal surface plays in attracting pollinators.

ArtistDaniel Trivedy

ScientistsDr Heather Whitney and Mike Harrap Bristol Bee Lab,

Bristol University

Dr Natasha de Vere National Botanic

Garden of Wales

Michele Bales Buglife

“It has been exciting to see the direction the artists have taken the techniques we employ in the Bee Lab to demonstrate the concepts we are investigating”

Mike Harrap

Wal Dywynnu

Yn aml mae’r berthynas rhwng blodau a’u peillwyr yn un gymhleth sydd wedi esblygu’n symbiotaidd. Mae gan rywogaethau penodol o blanhigion eu hoff beillwyr a defnyddiant amrywiaeth o signalau i’w denu. Mae cymhariaeth i’w gwneud rhwng y modd y defnyddia blodau nifer o gliwiau i ddenu pryfed a ffurfiau hysbysebu cymhleth.

Ar hyn o bryd, mae’r Labordy Gwenyn yn cynnal ymchwil i’r signalau a ddefnyddir gan beillwyr i ddarganfod blodau. Enynnwyd chwilfrydedd Daniel gan ddefnydd disgiau resin mewn arbrofion arena hedfan i ddarganfod y rôl a chwaraea lliwiau symudliw strwythurol mewn peillio.

Mae’r Wal Dywynnu’n osodiad gyda nifer o ddisgiau resin a deflir o arwyneb petalau blodau. Cyfeiria’r gwaith at ffurfiau traddodiadol o hysbysebu a’r rôl a chwaraea arwyneb petalau wrth ddenu peillwyr.

“Visiting the Bee Lab has allowed me to start considering the complex ways that flowers communicate with pollinators. It has opened up numerous thought processes relating to the interplay of colour, form and surface, I got excited when I was making an imprint of a tulip petal. I couldn’t quite understand how the tulip’s colour was so vibrant, I was struggling to replicate this in resin. After some dissection, I realised that a red tulip petal is quite complex. It is in fact a layer of red on the outsides with a very thin layer of yellow sandwiched between. I realised that when the petal is curved, it allows some of the yellow to expose itself; very much like a two tone fabric or where the warp and weft are different colours.”.

Daniel Trivedy

Signals

The project draws upon research into multi-modal signals produced by plants to attract pollinators.  Working with Mike Harrap and Heather Whitney from the ‘Bee Lab’ at Bristol University, Shelley Doolan has created a series of tactile objects that explore and reveal the structures of petal textures.   

As flower displays are targeted at their pollinators and their sensory apparatus not that of humans, many signals flowers send are not apparent to humans. One such signal is floral petal texture.

The microscopic shape and surface structure of the cells on the petal surfaces of flowers can differ between flower species.    These micro- textures are normally only visible under a scanning electron microscope. Pollinators like bees can detect these micro-textures using feelers on their antennae and feet. These can be used to recognise and distinguish more rewarding flowers from less rewarding ones.  Floral petal texture can also affect a pollinator’s grip on flowers.

“Working with Mike and Heather revealed a landscape not visible to the naked eye; one of microscopic petal texture, pattern and cellular form.  Illuminating conversations explored the function of these textures. Inspired by this ‘hidden architecture’ I have created work to further explore these themes and to make the textures visible on a human scale. There is a strong emphasis on the tactility of the surfaces, with the intention to draw in the viewer through the interplay of light, colour, transparency, texture and pattern, to uncover and suggest a hidden world of micro-structure that forms the landscape for pollinator and plant”.

Shelley Doolan

ArtistShelley Doolan

ScientistsDr Heather Whitney and Mike Harrap Bristol Bee Lab,

Bristol University

Signalau

Mae’r prosiect yn defnyddio ymchwil i signalau amlfodd a gynhyrchir gan blanhigion i ddenu peillwyr.  Gan weithio gyda Mike Harran a Heather Whitney o’r ‘Labordy Gwenyn’ ym Mhrifysgol Bryste, mae Shelley Doolan wedi creu cyfres o wrthrychau cyffyrddol sy’n archwilio ac sy’n datgelu strwythurau gweadau petalau.  

Gan fod arddangosfeydd blodau wedi eu targedu at eu peillwyr a’u cyfarpar synhwyraidd yn hytrach na rhai dynol, nid yw llawer o’r signalau y mae blodau yn eu hanfon yn amlwg i bobl. Un o’r signalau hyn yw gwead petalau blodau.

Gall ffurf ficrosgopig a strwythur arwyneb y celloedd ar arwynebau petalau blodau wahaniaethu rhwng rhywogaethau blodau.Fel arfer, nid yw’r microweadau hyn ond yn weladwy o dan ficrosgop sganio electron. Gall peillwyr megis gwenyn ddarganfod y microweadau hyn trwy ddefnyddio’r teimlyddion ar eu hantenau a’u traed. Gellir defnyddio’r rhain i adnabod a gwahaniaethu blodau mwy buddiol rhag rhai llai buddiol. Gall gwead petalau blodau hefyd effeithio ar afael peilliwr ar flodau.

Photograph by Simon Bruntnell

“It’s interesting to see how artist’s tools and techniques can be used to reconstruct these cues from microscope images. It’s great to see these floral textures scaled up to a level where we can see and touch them.” 

Mike Harrap

When Less Is More

When Less Is More is a film installation that aims to raise awareness of the threat to Britain’s traditional pastoral farming systems. It is also a lament for what is fast becoming a lost way of life. Flower and pollinator rich hay meadows are the treasured wildflower fields of our youth but these abundant and productive systems for grazing livestock have become increasingly rare with the advent of modern sugar rich grasses such as rye, along with the pressures to intensify production. In less than 100 years this intensification has wiped out 97% of traditional hay meadows in the UK, with the associated wildlife they support. This ‘green-washing’ of the countryside, with the emphasis on regulated green squares of land, is destroying our wildlife. The desire for tightly manicured green spaces is echoed in the domestic environment as we intensively mow our lawns resulting in a kind of ‘green death’.

This artist’s film, informed by the discussions with project scientists, is not a documentary, but an interpretive snapshot of these two very different systems. The intention is to prompt the viewer into making connections between the wider issues surrounding environmental farming practices in relation to domestic gardening practice.

ArtistProfessor Karen Ingham

Farming & Environmental  Policy ScientistsDr Sarah Beynon Dr Beynon’s Bug Farm

Professor Michael ChristieAberystwyth University

Duncan Coston, Reading University,

Sinead Lynch,Bumblebee Conservation Trust

Pryd Mae Llai yn Fwy

Gosodiad ffilm yw Pryd Mae Llai Yn Fwy sy’n anelu at godi ymwybyddiaeth o’r bygythiad i systemau ffermio bugeiliol traddodiadol Prydain. Mae hefyd yn alarnad i ffordd o fyw sy’n prysur ddiflannu. Dolydd cyforiog o flodau a pheillwyr yw caeau blodau gwyllt hoff ein hieuenctid ond mae’r systemau helaeth a chynhyrchiol hyn ar gyfer pori da byw wedi prinhau’n fwy ac yn fwy gyda dyfodiad porfeydd modern cyfoethog mewn siwgr megis rhyg ynghyd â’r pwysau i ddwysáu cynhyrchiant. O fewn llai na 100 mlynedd mae’r dwysáu hwn wedi dileu 97% o ddolydd gwair traddodiadol y DU, ynghyd â’r bywyd gwyllt cysylltiedig a gefnogir ganddynt. Mae ‘gwyrddgalchu’ cefn gwlad yn y modd hwn, gyda’r pwyslais ar sgwariau gwyrdd o dir wedi eu rheoleiddio, yn difetha ein bywyd gwyllt. Adleisir yr awydd am leoedd gwyrdd wedi eu trin yn dynn yn yr amgylchedd domestig wrth i ni dorri ein gwaith yn ddwys ac achosi math ar ‘farwolaeth werdd’.

Nid yw ffilm yr artist hwn, a lywiwyd gan y trafodaethau â gwyddonwyr prosiect, yn ffilm ddogfen, ond yn giplun deongliadol o’r ddwy system hon sy’n wahanol iawn. Y nod yw annog y gwyliwr i wneud cysylltiadau rhwng materion ehangach ynghylch arfer garddio domestig.

“From the early stages of this project I was aware of not only a shared research interest with Dr. Sarah Beynon, but also a shared passion for plants and pollinators. Sarah has been my main collaborator for ‘When Less Is More’. Her understanding and experience of public engagement, her extensive knowledge of agricultural practices, of entomology, and of the essential relationships between sustainable farming and healthy plants and pollinators, has enabled productive knowledge exchange, stimulating interdisciplinary collaboration and a deeper understanding of the importance of bio-diverse faming practices for a sustainable future.”

Karen Ingham

“As an ecologist, entomologist and farmer working on beneficial insects in agricultural systems, I have always been passionate about our insect pollinators. Hay meadows are particularly important for insect pollinators and the Wales Action Plan for Pollinators states that the value of pollination as a contribution to the UK crop market in 2007 was £430 million. The annual cost of hand pollination, were we to lose this valuable service, has been estimated at £1.8 billion in the UK alone. However, despite all of these facts and figures, the most powerful image of a hay meadow (even to me as a scientist) is a memory of lying in a meadow full of flowers, buzzing with life on a balmy summer day. When compared to a green, barren field, largely devoid of wildlife, the difference is striking and rather frightening. As scientists, we often fail to fully inspire people by forgetting not all of us are motivated by facts and figures! Working with Karen has enabled me to share my passion for wild flower meadows, and the wildlife it supports. Working together, we want to visually showcase the importance of these extraordinary habitats.”

Sarah Beynon

WINGS

Wales was the first nation in the world to DNA barcode all of its native flowering plants through work led by the National Botanic Garden of Wales.

Inspired by the barcodes, and the continuing work of the scientists to extend the database to plants from the rainforests of Sabah, (where the Blue Morpho butterflies in Plas Pilipala come from), Jax Robinson responds to the butterflies and barcodes to highlight global connections and seeks to help raise an awareness of the importance of safeguarding all our pollinating insects.

The paintings take forms from the cell patterns of butterfly wings and abstracts them to echo the structure of the barcodes from the database.

Listening to Dr Natasha de Vere explain how the butterflies can be ambassadors for other pollinating insects helped Jax realise that art can act as a gateway for people to access the DNA barcoding project, and its potential for research into biodiversity conservation.

ArtistJax Robinson

ScientistsDr Heather Whitney and Mike Harrap Bristol Bee Lab,

Bristol University

Dr Natasha de VereNational Botanic

Garden of Wales

Michele BalesBuglife

“Working with scientists highlighted we had shared interests but communicated them very differently. We both create an image but my image on a canvas reflects an idea and their images in a barcode delivers facts. One seeks to provoke a thought and one delivers information, but we both hope to facilitate change.”

Jax Robinson

ADENYDD

Cymru oedd y wlad gyntaf yn y byd i roi cod bar DNA i bob un o’i phlanhigion brodorol sy’n blodeuo, a hynny trwy waith o dan arweiniad Gardd Fotaneg Genedlaethol Cymru.

Wedi ei hysbrydoli gan y codau bar, a gwaith parhaus y gwyddonwyr i estyn y gronfa ddata planhigion o goedwigoedd glaw Sabah, (o ble daw pili-palaod Morpho Glas Plas Pili-pala), dyma Jax Robinson yn ymateb i’r pili-palaod a’r codau bar i helpu i dynnu sylw at gysylltiadau byd-eang gan geisio helpu i godi ymwybyddiaeth o bwysigrwydd diogelu pob un o’n pryfed peillio.

Cymer y peintiadau ffurfiau patrymau celloedd adenydd pili-pala a’u haniaethu i adleisio strwythur y codau bar ar y gronfa ddata.

Roedd gwrando ar Dr Natasha de Vere yn esbonio sut y gall pili-palaod fod yn llysgenhadon i bryfed peillio eraill yn help i Jax sylweddoli y gall celfyddyd fod yn borth i bobl ddarganfod y prosiect codau bar DNA, a’i botensial ar gyfer ymchwil i gadwraeth bioamrywiaeth.

Every Last Mouthful

Reflecting upon their previous art/science research and visual art exhibition ‘Every third mouthful…’ where they identified the need to reverse the de-cline of solitary bee pollinators, it has become clear that the problem in sustaining our food supply re-mains urgent, and is directly linked to continuing loss of habitat and indiscriminate use of pesticides leading to pollinator decline on a global scale.

Their artistic response is to produce, for exhibition, Every Last Mouthful, a contemporary illuminated manuscript which amalgamates handwritten script with drawing and print. Not only does it record our 15 year collaborative involvement with three lead-ing entomologists specialising in bees and pollina-tion on three continents, but also identifies innova-tive present day solutions to species decline that, if instigated, will safeguard our future food supply.

In collaboration and conversation with leading protagonists: entomologists, conservationists, scientists, economists, ecologists, social com-mentators, historians - activists all - they are hell-bent on finding solutions that provide answers and drive change in the face of total inertia from the international social and political community.

Pob Llond Ceg Olaf

Gan adfyfyrio ar eu harddangosfa ymchwil celf/gwy-ddoniaeth a chelf weledol ‘Pob trydydd llond ceg..’ lle nodwyd yr angen i wrth-droi dirywiad gwenyn un-igol sy’n peillio, daeth yn amlwg bod y broblem gyda chynnal ein cyflenwad bwyd yn parhau’n hollbwysig, ac yn uniongyrchol gysylltiedig â’r cynefinoedd a gollir yn barhaus a defnyddio pla-laddwyr yn ddiwahaniaeth sy’n arwain at ddirywiad peillwyr ar raddfa fyd-eang.

Eu hymateb artistig yw cynhyrchu, ar gyfer arddan-gosfa, Pob Llond Ceg Olaf, sef llawysgrif ddarluni-adol gyfoes sy’n cyfuno sgript mewn llawysgrifen â darluniau a phrint. Yn ogystal â chofnodi dros 15 mlynedd o ymwneud cydweithredol â thri entomole-gydd o fri sy’n arbenigo mewn gwenyn a pheillio ar dri chyfandir, ond sydd hefyd yn nodi atebion arloesol heddiw i ddirywiad rhywogaethau a fydd, o’u gwei-thredu, yn diogelu ein cyflenwad bwyd i’r dyfodol.

Mewn cydweithrediad a thrafodaeth â’r prif ymgyrch-wyr: entomolegwyr cadwraethwyr, gwyddonwyr, economegwyr, ecolegwyr, sylwebwyr cymdeithasol, haneswyr – gweithredwyr un ac oll – mae’r rhain yn benderfynol o ddod o hyd i atebion sy’n darparu atebion ac sy’n gyrru newid yn wyneb syrthni llwyr y gymuned gymdeithasol a gwleidyddol ryngwladol.

Guest ArtistsChatwin:Martin

“Working with Peter and Pamela forced me to try and articulate for the first time the ‘jizz’ of a habitat and how I recognise an area as good or bad for bees. It’s a mixture of judging floral diversity and the availability of potential nest sites, and, at some subconscious level, I get a ‘feel’ of a place. And, rather like Pamela and Peter’s work, it always seems greater than the sum of its parts”.

Christopher O’Toole: Entomologist; Taxonomist; Author; Research Associate at Hope, University Museum Oxford

New York – Residency

Sarah Tombs and Daniel Trivedy will be visiting Cornell University during August 2017 to work with Dr. Peter Graystock and his research team. They will be approaching the visit as a mini-residency and will shadow the team both in the laboratory and within the field.  There will be a number of stages to the collaborative process between the scientists and artists, the end result of which will be the production of a number of artworks. The first stage for the artists will be one of Observation and Collection; this will consist of the gathering of visual data using a range of mediums, including; photography, sound recording, drawing, filming etc. They will also be in continuous discussion with the various members of the research team about their work.  Following their return to the UK the artists will undergo an ideation process considering the observations and discussions made during their residency. These considerations will be synthesized in order to generate ideas for artworks. An ongoing dialogue with the researchers will inform this ideation phase. Both artists will work collaboratively to produce artworks, combining their respective practices. The production of artworks will be an iterative process and it is likely that the work will modify and develop from the original idea.

ArtistsDaniel Trivedy and Sarah Tombs

ScientistDr Peter Graystock, Cornell University,

New York

Efrog Newydd – Preswyliad

Bydd Sarah Tombs a Daniel Trivedy yn ymweld â Phrifysgol Cornell yn ystod mis Awst 2017 i weithio gyda Dr Peter Graystock a’i dîm ymchwil. Byddant yn ystyried yr ymweliad yn rhyw fath o breswyliad bach ac yn cysgodi’r tîm yn y labordy ac yn y maes.  Bydd nifer o gyfnodau i’r broses gydweithredol rhwng y gwyddonwyr a’r artistiaid, a phen draw hyn fydd cynhyrchu nifer o weithiau celf. Y cam cyntaf i’r artistiaid fydd Arsylwi a Chasglu; bydd hyn yn cynnwys casglu data gweledol gan ddefnyddio ystod o gyfryngau, gan gynnwys: ffotograffiaeth, recordio sain, tynnu llun, ffilmio ac ati. Byddant hefyd mewn trafodaeth barhaus ag amrywiol y tîm ymchwil am eu gwaith.  Ar ôl dychwelyd i’r DU, bydd yr artistiaid yn dilyn proses syniadaeth gan ystyried yr arsylwadau a’r trafodaethau a gafwyd yn ystod eu preswyliad. Cyfunir yr ystyriaethau hyn er mwyn creu syniadau ar gyfer gweithiau celf. Bydd deialog barhaus â’r ymchwilwyr yn llywio’r cyfnod syniadaeth hwn. Bydd y ddau artist yn gweithio’n gydweithredol i greu gweithiau celf, gan gyfuno eu harferion priodol. Bydd cynhyrchu gweithiau celf yn broses iteraidd ac mae’n debyg y bydd y gwaith yn addasu ac yn datblygu o’r syniad gwreiddiol.

‘The mini-residency to Cornell University is an exciting opportunity to delve into the working practices of Pollination researchers in order to inform artworks in a meaningful and considered way’

Daniel Trivedy

Thank you

All those involved in the project would like to thankthe following people and organisations

For FundingThe Arts and Humanities Research CouncilThe Arts Council of WalesUniversity of Wales Trinity Saint DavidNational Botanic Garden of WalesThe Heart of Wales Line (Arriva Trains)Aberystwyth University

For SupportBruce Langridge, National Botanic Garden of Wales

Katrina Hodges, Project Administrator

Matthew Otten, Designer

For more information about the project visit crosspollinationartsciencecollaboration.wordpress.com or scan the QR code.

To become involved in the project or attend the Cross-pollination Conference in November 2017, please contact

andrea.liggins@uwtsd.ac.uk or katrina.hodges@uwtsd.ac.uk

I have worked on multiple research projects looking into the impact of agricultural techniques on pollination services with scientific researchers from across the UK and Europe. However, this has been the first project where I have collaborated with researchers from the Arts. Although I originally had some misgiving on how the Arts and Sciences would work together with both disciplines having such different methods and processes, I was immediately put to rights! This project has opened up a whole set of ideas and ways of looking at scientific research. The whole process has been truly enjoyable. This project has given me a whole new insight into visualising scientific research to a much wider audience through, to me at least, very novel methods.

The whole process has been a big eye opener to me and I hope to continue collaborating with the arts and across other disciplines through my career.

Duncan Coston