Cyngor Celfyddydau Cymru | Adolygiadau Beirniadol
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Adolygiadau Beirniadol

O'r dudalen hon gallwch ddod o hyd i'r adolygiadau diweddaraf ar Tim Davies yn Fenis.

The Golden Triangle: U.K at the Biennale (Art in America, 03.06.11)

Owen Sheers looks at the political power of curating by country (The Guardian, 07.06.11)

Adolygiadau'r Gorffennol

‘Tim Davies’ work is well devised, well displayed and well thought-through, overall a refreshingly different and stimulating collection of work. Davies’ clever and subtle nature is his real strength, and through this work he succeeds in doing what all great artists must, to make people think.’
- Martin Brennan yn Kilkenny People 3.6.09, yn adolygu arddangosiad unigol Kilkenny Shift yn yn Oriel Butler, Kilkenny.

‘Across different media, Davies’s work has an underlying unity. There is satisfying coherence to his ideas. This does not mean that his work is static or repetitive: the DVD film, Kilkenny Shift, is a response to the castle’s environment, but also marks a clarification of related themes in his earlier output.'
- Gerry McCarthy yn y Sunday Times Culture Magazine, 10.5.09, yn adolygu arddangosiad unigol Kilkenny Shift solo yn Oriel Butler, Kilkenny.

‘Tim Davies' two video pieces on DVD monitors demonstrate sensitivity and a dramatic touch. In the three-monitor piece titled "Still," Davies looks to the Northern European Lepidoptera Collection held at the Swansea Museum in the United Kingdom to reclaim the lost lives of butterfly specimens. In the visually stunning "Arrangements (The Cuba Jug) 1 - 9," he documents the process of arranging a pitcher of flowers…’
- Katherine Rushmore yn Syracuse Post Standard 9.3.08, yn adolygu arddangosiad grŵp @earthlink.org yn Oriel Coleg Cazenovia Efrog Newydd.

‘...It carries a strong theme of grief, both public and private. Despite the presence of video works in the show, there is a cool quietness in the atmosphere of the gallery. The walls are lined with a small army of drawings which feature neatly scored-out images of grand memorials. The work is defined by an extremely minimal aesthetic. The cinematography of the videos has parallels to the composition of a Vermeer painting, giving the depictions of the grieving a solemn beauty…"
- Morag Keil yn The Skinny (Scotland) rhifyn 20, Mai 2007,yn adolygu arddangosiad unigol Cadet yn Oriel Collins, Glasgow.

‘…Tim Davies is part of a constituency of artists, working transnationally, who are committed to place but also function in the world, who do not prescribe our understanding nor privilege their own by adopting an avante-garde position. Davies works by unpicking some of the locks of human experience, from a position already beyond Modernism, rather than leading a charge, and asks that we explore the nature and meaning of that experience with him. He also embodies, in his practice, a role for the artist which has both the intimacy and the wider reach necessary to access the individual and collective public mind – a truly ‘public’ art.’
-Rhagair Declan McGonagle’s i'r sioe gatalog unigol Cadet 2006-07 i gyd-fynd ag arddangosiad yng Nghanolfan y Celfyddydau, Aberystwyth, Amgueddfa Harris, Preston ac Oriel Collins, Glasgow.

‘…Actually, to call Butterfly a play is something of a misnomer. With music by the acclaimed Amy Wadge and an art installation by the equally lauded Tim Davies, it’s more of a sensory smorgasbord of creativity; it really is an event…’
- Jason Jones yn Big Issue Cymru Mawrth 13-19 2006, yn adolygu Butterfly, cywaith i'r llwyfan gyda Theatre Y Byd.

‘…Ceremony does not shirk from death - particularly engrossing is Rosmarinus Officinalis, a video by Tim Davies, which documents the construction of a funeral wreath that is beautifully lit to resemble a Dutch still life…’
- Pamela Buxton yn Design Week 11 Awst 2005, yn adolygu gwaith yn arddangosiad grŵp Ceremony yn Oriel The Pump House, Battersea, Llundain.

‘…As the sun began to dip below the palm fronds, we came upon the park’s signature work, the British artist Tim Davies’s "Returned Parquet", a 4-foot-wide, 40-foot-long strip of mahogany flooring set in the rich forest soil…All of Belize’s complex colonial history is contained in this old wood floor…’
- Bruce Barcott yn The New York Times 9 Mai 2004, yn adolygu Llawr Fforestfach: Returned Parquet yn Poustinia Earth Art Park, Belize.

‘…With an eye for the simply composed yet powerfully telling image, he focuses on hidden historical details and defaces the façade of colonialism and nationalism…’
- Robert Clarke yn The Guardian Guide Ebrill 10-16 2004, wrth ragadolygu'r arddangosiad unigol Still Life yn The City Gallery, Caerlŷr.

‘…It is perhaps in the hidden depths that he excels. His work varies greatly in materials and methods, but they share a certain surface calm and beauty, but beneath that often-austere surface run currents of a darker, indignant, if not angry, mood…’
- Iwan Bala yn The Western Mail 15 Medi 2003, mewn erthygl amdan yr artistiaid ar restr fer y wobr gelf weledol ryngwladol Artes Mundi yn yr Amgueddfa Genedlaethol, Caerdydd.

‘…Tim Davies has been making installations of cauterising beauty…As always the means are condensed and the point poised finely between political protest and elegy…Restrained, hard-hitting, poignant, truthful, not afraid of its feelings: these describe Tim Davies’s work to date…Tim Davies stands apart from many conceptual artists of his generation as he owns up to feeling; this allows us into his work on an equal footing. It is a relief to see an artist trying to be so honest.’
- Caroline Juler yn Galleries Gorffennaf 2003, mewn erthygl am Tim Davies a'r sioe grŵp Explorations yng Ngerddi Botaneg Cymru.

‘…This timely installation by Tim Davies explores the themes of patriotism, freedom and lost innocence’
- Jessica Lack yn The Guardian 7/4/03 adran ‘Picks of the week’, ynglŷn â'r gwaith Drumming yn yr arddangosiads Process II yn Oriel Davies, Y Drenewydd.

‘…Davies’s work has a timely relevance...’
- Hannah Shuckburgh yn Art Review Ebrill 2003, yn adolygu arddangosiad unigol Process II yn Oriel Davies, Y Drenewydd.

‘…Welsh artist Tim Davies produced a Beautiful work, also floor-based, which consisted of thousands of opaque wax nails…a restrained, formal elegance …’
- Alannah Hopkin yn Circa, haf 1999, yn trafod y gwaith Capel Celyn yn ei hadolygiad o arddangosfa Alice Maher/Tim Davies yng Nghanolfan Gelfyddydau Triskel, Corc.

‘…Davies has achieved a striking transformation: something soft and mutable stiffened into precision. It balances on a razor’s edge between figurative meaning and the abstract…’
- Hugh Stoddart yn Contemporary Visual Arts Rhifyn 26 (1999) yn adolygu'r gwaith Parallax yn arddangosiad grŵp Chora.

‘…there is a serious engagement with aestheticism, a quality often sidelined by works with a more thrusting political agenda. That said, there is an intelligence within the work which is lucid, accurate…’
- Laura Denning yn CIRCA21 Newspaper Rh. 2, 1995, yn adolygu Paran Chapel yn y sioe grŵp Standpoints.

Artist: Tim Davies
2011

Elusen Gofrestredig Rhif 1034245