Empower - cur. by Rebecca F. Hardy

1 March 2015


Empower is an eclectic collection of artworks that embrace the challenge and changing view of gender, equality and feminism amongst society. It captures the contemporary practice of visual artists and illustrators from Wales and England in various stages of their art careers from art students to emerging to professional artists. All were invited to exhibit by guest curator and artist Rebecca F. Hardy.
Empower is the psychology, sociology and/or biology of gender and feminist issues, from paper-mache sculptures, textile dolls to zines. The exhibition is in celebration for International Women’s day on March the 8th it is an opportunity to celebrate and to mark the economic, political and social achievements of women.

Facebook Event

Artist Talk

On Saturday the 21st of March some of the exhibiting artists from the exhibition will be in conversation with the guest curator discussing their artwork and the exhibition subject matter. Join us for an informal debate about art at Bocs, 21st of March 3pm – 4pm with refreshments.

Event Registration

Elizabeth Hudson – Power Cut

24 January 2015

Exhibition Statement

The exhibition Power Cut is a new body of work by young London-based artist Elizabeth Hudson, which explores feelings of powerlessness. Working across a range of media, Hudson uses absurdity and exaggeration to face her lack of power.

The exhibition takes its title from a work in the show that is based on the artist’s conflation of strength and power in the biblical story Samson and Delilah. Hudson has created a drone (Delilah) that harvests the hair from the 50 people in the world that she perceives as having most power over her life. This hair has then been fashioned into a wig (Crown) for the artist to wear to reclaim their power and take it for her own. The wig has been made in the style of the elaborate headpieces worn by the aristocracy in the 18th century (as epitomised by Marie Antoinette).

As a counter to Power Cut, the installation Black Out is an alarmist imagining of a dystopian future where the artist herself has supreme power. For every well-intentioned policy she has devised, the corresponding worst case scenario seems inevitable; she cannot even imagine a functioning society where she were powerful. The installation is made up of a series of wooden tablets, whose glossy surfaces and chamfered edges mimic blank screened mobile devices. The title of each of these objects reads as a ‘trending’ headline, ready to be shared on social media - if only Hudson’s regime allowed the media to dissent (or iPads to be made of materials other than hand-crafted wood).

#Revenge and #Hudson are a pair of photographs that document an act of resistance carried out by the artist. As she was powerless to prevent loggers from destroying her favourite childhood bluebell woods, Hudson has traced the tree-fellers to exact (peaceful) vengeance by filling their machinery with handmade bluebells. These real images follow the Facebook/Instagram maxim that to have done something, one must be seen to be doing it in a photograph. By sheer coincidence, the tone of #Hudson perfectly matches the Instagram filter ‘Hudson’.

From ridiculous schemes to details that appear to subtly undermine the very point she claims to be making, Hudson defies us to believe her. Each work has multiple layers of potential deception, meaning that one might start to doubt things that initially did not appear to be part of the work, or question the gallery’s complicity in presenting the artist’s version of events. (And if you’re wondering, yes, a three-foot cardboard drone can cross the Atlantic, enter the White House undetected and scalp the President. He now wears a wig.)

The exhibition opens on the 6th of February at 6pm at Bocs.


Art + Power: Covert Creative Circuitry
Using electro-conductive paint and modelling material, learn to create electric circuits hidden in works of art, and find out about the real-world applications of this technology, from designer lighting to drones.
The workshop will run at 1pm on the 7th of February

Ages 6-100.
£4 for children, £7 for adults.
Workshop led by the artist.
Get tickets on Eventbrite.

Artist Talk

The artist talk with Elizabeth Hudson will start at 3pm on the 7th of February.
Get tickets on Eventbrite.

Elizabeth Hudson - Power Cut by Bocs on Mixcloud


Elizabeth Hudson (b.1990) graduated from Glasgow School of Art in 2013,
and now lives and works in London. Her practice is multi-disciplinary,
encompassing sculpture, installation, lens-based work and paint. She is
also a published illustrator and a curator with arts collective VERB.

Selected exhibitions include:

Penumbra, A.P.T Gallery, London, (May 2014); My Head is an Animal, South
Square Gallery, Bradford (Dec 2013 - Jan 2014); Prisimism, Transmission
Gallery, Glasgow, (2013); Glasgow School of Art Degree Show, Glasgow
School of Art, Glasgow, (2013); Minnows and Castles, The Art School (GSA),
Glasgow, (2013, solo show); Miniworks II, Schillerpalais, Berlin (2011);
Art on the Wing, Maclaurin Galleries, Ayr (2011); Half Way (part 1),
Mackintosh Gallery (GSA), Glasgow (2011); Art of Nurture (semi-finalists
show), Bank of Scotland, Edinburgh (2011); 12×12x12, The Glue Factory,
Glasgow (2011).

Call for works: Fear and Sound

16 January 2015

Fear and Sound is curatorial project with an open call for artists interested in exploring the relationship between fear and sound.

The initial concept comes from the consciously hearing while experiencing fear – when hearing seems much sharper and every sound makes an impact on the entire body and mind. This is especially interesting in an evolutionary context where hearing developed from a sense we depend on for survival into a purely communicative and aesthetic sense. With this project we would like to immerse the audience into a primal experience of sound through a curated collection of art based on the mentioned theme

Artists are invited to submit their work that can fall into many categories although preference will be given to work that uses sound or has a direct relation to sound and hearing.

The selected work will be exhibited in April 2015 at Bocs Celf, in Caernarfon, Wales.

An important aspect of the call is its restriction to artists under 30 years old (with a small amount of flexibility) – because Bocs is a gallery that focuses its work on young artists.

Bocs is able to pay the artists £40 for a workshop, plus workshop expenses if the artists decides to run a workshop, whether in Bocs or through a webinar.

To apply, please send a biography, and a CV to dimitri@bocs.org.uk.

Along with that please send your portoflio via a file-sharing service like Dropbox, Google Drive, etc.

If you intend to propose a new piece please send your proposal and artist statement (max 1000 words).
If you intend to show existing work please also send an artist statement (max 500 words).

Along with information about yourself and your art, please include:

Where you are from.
Will you be attending the opening on the 3rd of April at 6pm.
Precise technical requirements for your work.
Your contact details including email and phone.

The deadline for applications is the 6th of March.

Stuart Haffenden: Weather Systems

5 January 2015

Stuart Haffenden’s Bocs exhibition ‘Weather Systems’ opens on the 9th of January at 6pm.
As part of the exhibition opening Stuart Haffenden, also known Orrest will preform his DJ set.
Another perk of this opening is that Gert Vos, the chef of the famous and formerly Caernarfon-based pop-up restaurant Oren will be making some amazing food for everyone to try during the opening.
If this is not enough for you, then the exhibition opening will coincide with the opening of the Indycube coworking space at Bocs. So come down to Bocs for an amazing night of music, art, food, and community on the 9th of January at 6pm.

Artist Statement

We are living in The Information Age, and as the name of our era suggests, data is an indispensable commodity. Current technology allows us to sense and quantify our environments at an unprecedented scale, and as consequence we have gained invaluable insights into the innermost workings of our universe. It has also allowed us to ask some important questions about our relationships with our local and global environments, and has enabled an ever-increasing number of people to have access to the vast wealth of knowledge we have collected and spread over the Internet. This demand for accessible data has led to the development of technologies and techniques, like data visualisation and sonification.

Data sonification is the auditory counterpart of data visualisation. Where in visualisation the designer may create a graph or visual representation of large data sets; in sonification the designer aims to use data to generate sound, in order to make audible the structural patterns and different relationships between different data sets over time. These fields of study have largely remained within the scientific community, however current research suggests that the main barrier for sonification to become a ubiquitous technology in every-day life, is due to the lack of aesthetic qualities of current sonification experiments and applications.

Weather Systems is an installation that aims to explore the issue of aesthetic sonification through the use of algorithmic compositional techniques. Over a period of 48 hours in mid August, environmental sensors were placed in the woods outside the Lancaster Institute of Contemporary Arts. These included: a temperature/humidity/dew point sensor, a light intensity sensor, and a carbon dioxide, carbon monoxide and methane gas sensor. These data where then mapped to different sound parameters and structural queues.

The music generated follows an A B A’ B’ structure, where A represents the night time, with the temperature mapped to the pitch of the bell sound, which also signals every passing hour. The seemingly random percussive and granular sounds are triggered when pollutant gas levels meet a certain threshold and the high-pitched metallic sound corresponds to humidity. The disappearance of the bell sounds and the rising melodic synths are mapped to the light intensity data stream, signalling the sunrise. In the B section the melodic and harmonic synthesiser sounds are mapped to temperature, humidity and dew point. Finally the rain and thunder throughout the first section is also driven by dew point.

The final aim is to hopefully allow audience members to hear what two contrasting days, in terms of weather, sound like, bringing to life the imperceptible changes in our environment that we take for granted.

Get free tickets on Eventbrite

Exhibition #25

29 November 2014

Every few years Bocs organises a show of most recent work created by Bocs Members. The last show that exhibited work by Bocs Members happened in December 2012 - exactly two years ago, and was the first show to be shown at Bocs’s new premises. Two years later, in 2014, we are exhibiting work by 6 Bocs Members: Cathryn Griffith, Dion Hamer, Rebecca F. Hardy, Nader Kohbodi, Catrin Menai, Sarah McEachran, and Yvonne Tsang, all of whom have been members for a significant amount of time. This exhibition the brings members together again and gives an opportunity to see the evolution of their work over the course of the last 2 years. Along with presenting the current work of our members, this exhibition also connects us to the past and to the future of both Bocs and its members. This isn’t a retrospective, but we can look back and look forward and see where we were, where we are, and where we can be.

Eventbrite Event

Cathryn Griffith

The work is a selection of screenprints made earlier this year. I have worked with collage, layers, and colour previously, and it has felt natural to begin producing work using this technique. The pieces explore balance, structure, and composition and they are mostly a result of experimentation and are not a part of a planned process.

Cathryn is an artist living and working in North Wales.  She works with a variety of media, predominantly with collage and layering.  Her work often references elements of architecture and aspects of childhood memories.

Dion Hamer

Artist Statement:
Hamer explores human relationship to its environment, with the physical relationship often being a great interest, experimenting with scale and perception with the intention of engaging human senses. Memory is central to his practice, with the mundane memory of the everyday being as equally important as the significant ones.
Hamer primarily works in the medium of film, though often its viewing source or surroundings; whether it being televisions, built installations or specific sites, are integral to the work.

Dion Hamer lives and works in Rhosgadfan, he received his BA (hons) from Glyndwr University, Bangor in 2012. Since graduating he has exhibited in a number of shows, including Blinc Digital Arts Festival, Adain/Avion, Haus of Helfa and had his first solo show with Bocs in 2012. Hamer has been selected for Welsh Artist of the Year 2012, shortlisted for Galeri Open 2012 and was part of World Skills London 2011.

Rebecca F. Hardy

Artist Statement:
The contemplation of the human mind, the conduct of human nature, its behaviour to perform consciously and subconsciously and the complexity of these emotions upon the individual and within society. This is Rebecca’s visual exploration and journey into understanding the dense sociology, psychology and biology of this process.
She works in a range of materials and projects, from mixed media, collage, sculpture, installations and photography. She continues channeling, experimenting, expressing, exploring and playing with her new found language, revisiting materials like wax, clay, and varnish and in bedding and marrying them with found objects and drawings.

Within the past 8 years Rebecca has been involved in several group exhibitions in London and in Wales. Selected exhibitions include Repeat & Reprise, East Gallery, London; Wunderlust ll, tactileBOSCH, Cardiff,  Galeri Open 2014, Galeri, Caernarfon and the social art engagement project I Know You, You Can Come With Me, Oriel Wrecsam. In 2014 she had her second solo exhibition ‘neuroanatomy’ which she exhibited in all three galleries in Bocs, Caernarfona nd collaborated with seven female British artists,  and at the beginning of 2015 she will be exhibiting new work in her solo show in Oriel 2, Oriel Wrecsam.

Nader Kohbodi

Artist Statement:
The images Mr Kobo creates contain strong symbolic elements and are typically orientated around a central character.
Some of his works express his personal experiences in life, whilst others are based upon inspiring myths and legends. Many are also heavily influenced by the people he has met throughout his journey through life. Drawing influences from art forms such as the Graphic Arts and Graffiti to art movements such as Pop Surrealism & Art Nouveau, his work treads the borders between fine art and illustration.

Artist Biography:
Mr Kobo (Nader Kohbodi) is a local visual artist based in the beautiful Snowdonia region of North Wales, who is quickly gaining recognition for his unique and imaginative artwork.
Although with an academic background in computer visualisation, having graduated from the NCCA (National Centre for Computer Animation), in recent years Mr Kobo has chosen to focus instead on more traditional methods.
The change in medium initially arose after an extensive period of travel, subsequent to his academic studies, where he regained a passion for more traditional art forms. This ideal was strengthened as he found himself more at ease with the physical process of drawing as opposed to digital creation, appreciating the texture of paper, the effervescence of colour, shades, tones and true lines that can only be obtained when working by hand.

Catrin Menai

Artist Statement:
“Closed place. All needed to be known for say is known. There is nothing but what is said. Beyond what is said there is nothing”.
 -Closed Space, Samuel Beckett

I am interested in the nature of language, documentation, and the underlying questioning of how narrative and storytelling exists privately and publicly in the spatial and the temporal. Within the work there is a questioning of the relationship between images and information and how they configure and correspond with ourselves. The space in between this configuration, the ‘ecstasy of the gap’, is often where I land: a multidimensional plane where disappearance and loss coincide with romance and fiction.

Catrin Menai is a multi-disciplinary artist who is based in North Wales. Menai creates multi layered works that explore the nature of language and documentation and the underlying questioning of how narrative and storytelling exists privately and publicly in the spatial and the temporal.

Sarah McEachran

Artist Statement:
With this series I took an old idea and came at it from a different angle. Some time ago I was looking for photos of old Victorian dolls but came across these peculiar stiff photos of people, I took a look and realised these people were dead and that they were “memento more”. I was shocked to find this practice but I delved deeper and found a very sad truth, people could not afford a photo of their loved ones in life. These photos were cherished for a long time. It made me realise that this generation has been spoilt, photography is now a throw away commodity, we can take photos anywhere and share them everywhere. Even the word “selfie” is now in the dictionary. It also made me think of the class divide. Only the wealthy could afford photography, the middle to lower class only could afford them as “memento more” and the working class could not afford it at all. Now with the economy in crisis are we slipping back to a class divide?

Sarah McEachran is a young artist living in Caernarfon. She has studied in Coleg Menai in Bangor and graduated from UWIC in Cardiff BA Fine Art degree.
She paints self-portraiture as a means to help figure out where she stands in society. She has painted portraits of herself in contrasting attire, that expresses different sides of my personality. For example one of my pieces concentrated on my “girly” side since in person it is the least visibly apparent aspect of myself.
From an interest in capturing personalities I paint portraiture of other people. I usually paint people I know very well because I want the viewer to know them as I do through looking at my paintings.
Memory plays an important part in my work by helping me to visualise the character of the person I am painting.

Yvonne Tsang

Artist Statement:
The manipulation paper as a medium in its own right has been something that has passed down to me as traditional and cultural heritage, through paper folding and papercuts. A lifetime of use hasn’t diminished my pleasure when using this material that demands slow, meditative, and precise manipulations. I find the tactile quality of paper and its versatile nature immensely fascinating; it can be folded and cut with mathematical precision into the hard angular structures of Richard Sweeney; Mia Pearlman uses it to create giant soft, delicate and billowing forms; the apparently simple act of cutting and layering pieces of paper can produce startlingly diverse pieces from Anish Kapoor’s Wound, through Noriko Ambe’s organic topography to Jen Stark’s explosion of colour; it can even achieve spectacular movement through employing paper engineering techniques as evidenced by the kinetic sculptures of Mattew Shlian.
Using geometric structures that act as visual interruptions to break down, distort and reconstruct the space, this piece draws a great deal of inspiration from the work of Georges Rousse. Whilst his work culminates in a forced single-perspective photograph, I am taking a more anamorphic approach in which the viewer first perceives distorted clutter but as they actively view the space from different perspectives they will eventually find the sweet spot themselves. The point at which the chaos becomes clear in one convergent moment depicts the collision of engineering and art; where structured geometry meets sensual organic curves, capturing that delicate space in between where one becomes the other.
Title: Collision
Materials: Paper, card, glue

Yvonne Tsang is a designer living in Caernarfon and working in Bocs. Whilst her family were originally from Hong Kong, Yvonne was born and raised in North Wales. She studied Artificial Intelligence at Sheffield University, but soon turned her hand to art and design upon her return to Wales.