Student Wall @ Galeri Caernarfon

6th April 2018

I contacted Lisa and asked about removing the work, as today is the final day of the agreed contract period. However due to other circumstances I have been asked to leave the work up for the time being.

20th March 2018

img_5639I finished adding images to the wall in preparation for the Easter holidays. There was a small issue that turned out to be a non-issue as far as I was concerned. Someone had complained about the content of one of my images and I was asked to remove it. I was however quite proud of the fact that the image had created such a reaction.

13th March 2018

Today I added the work I have done in the past week to the Student Wall. I am really pleased with the outcome. Lisa very kindly translated my Artist Statement into Welsh.

6th March 2018


Over the weekend, I prepared several images from my photography session up at Capel Celyn and added them to the student wall. Very Pleased with the result. My next step is to begin working with the slogans used in the protests at Capel Celyn.

I also added a Brief Biography and Artist Statement to the wall.

The Drowning of Treweryn                                              Michelle Wright

This collection of work is part of a broader body of work which will be on display at the final exhibition at Coleg Menai, Bangor in June. The events that occurred at Treweryn in the 1960’s are relevant to the location of North Wales, with political context, not only historically but to the present day.

In 1965 Llyn Celyn was created, a reservoir that filled the Treweryn Valley. The village of Capel Celyn was drowned to provide water for Liverpool. Nevertheless, it seems that Liverpool then sold the water onto other regions in the country. These events were significant politically sparked by the Treweryn Bill. Passed in parliament this bill allowed the Liverpool Corporation to bypass local planning laws. The wishes of the Welsh people were ignored and plans continued to turn the valley into a reservoir.

Still a current topic, having recently passed a 50-year anniversary and with Brexit looming, Wales still does not have control of its own water. There are plans for this to change as a result of Brexit and claims that this could never happen again. However, with Devolution, the Welsh could categorically ensure this never happens again.

I am most touched by the unanswered protests of the residents and the fact that many of the family graves are still underwater. There continue to be many personal accounts from people who were and continue to be affected by this.

Liverpool Council did apologize in 2005, however this is widely seen as a political move with their bid for the Eisteddfod looming and too little too late.


Michelle Wright is currently in her final year of study towards a BA(Hons) Fine Art at Coleg Menai in Bangor North Wales. Photography and Video are core aspects of the artwork she produces. She considers all of her work to be of a humanitarian nature and a reflection of the way she sees the world. However, her work subconsciously considers social and political issues that arise as part of the practice she has developed.

27th February 2018

I added a mood board to the Student Wall as a starting point for this project.

22nd February 2018

Today I met with Lisa and signed the contract for the student wall at Galeri. We also discussed my ideas for the wall. My final intention is to fill the entire wall with preparatory material towards my final exhibition in June.

17th February 2018

I was contacted today by Lisa, the curator at Galeri to ask if I was still interested in working on the student wall. Short notice, but basically starting immediately. Although nervous I’ve decided to give it a go. I previously had an idea for this wall, so I plan to resurrect this idea and expand on it so that I can use it to practice a technique that I plan on using for my final piece.

Independant Study 1 – Research

Tuesday 9th January 2018

Curating the Digital

Increasingly, we use our smart phones and other digital devices to capture and curate day to day life experiences. As a cacophony of digital activity moves to the centre of human life overwhelmed by digital interactions, digital space is the place
where people spend the lion’s share of their time, curating their digitally mediated life. Although, many archivists are still thinking in terms of digital curation as a simulation of existing systems derived from physical archival practice such as the li
fe-cycle of documents, in the digital realm, judging which material is valuable is moving from the institutional domain to that of the individual curating in cyberspace where issues of physical storage become less and less relevant, so that everything captured gets saved. Often digital works are self – curating taking on a life of their own once on the Internet, where they can migrate via emails, tweets
and Facebook posts, and be remix ed and re-used to form new art.
The social impacts of individual curation are great as we all are at once, audience, participants and creators of content. We have moved our banking, shopping (Pin It with Pinterest), communicating, storytelling, and the curation of our lives to the
This paper examines some the changes that digital technology has wrought upon conceptions of space, time and culture, and how ‘new media art’ has historically reflected upon these. It suggests that such art might be better represented in institutions such as Tate, which in turn might help them engage with the question of what their own role might be in the digital age.
The digital culture we now live in was hard to imagine twenty years ago, when the Internet was hardly used outside science departments, interactive multimedia was just becoming possible, CDs were a novelty, mobile phones unwieldy luxuries and the World Wide Web did not exist. The social and cultural transformations made possible by these technologies are immense. During the last twenty years, these technological developments have begun to touch on almost every aspect of our lives. Nowadays most forms of mass media, television, recorded music and film are produced and even distributed digitally; and these media are beginning to converge with digital forms, such as the Internet, the World Wide Web, and video games, to produce a seamless digital mediascape.

Digital artworks are being brought to life in one of Singapore’s most cutting-edge art galleries, thanks to laser light source projection from Sony.

Originally founded by art dealer Ikkan Sanada in 1982, Ikkan Art moved from its original New York home to Singapore in 2011. Today, Ikkan Art Gallery presents a wide-ranging collection by international artists. The gallery showcases works across a wide range of media, from paintings, sculpture and photography to video and interactive displays.

With more leading artists looking to digital media as a means of creative expression, Ikkan Art Gallery wanted a high quality display and projection solution capable of meeting its ambitious vision.

Independant Study 1 – Proposal

Module: Independent Study 1 Research and Make ( 40 credit) level 6
Name: Michelle Wright
Proposal & Context (what is the intended context of the proposal and what is the background thinking informing your decisions?):
In North Wales there is a very clear link to the subject of Diaspora with the historical emigration to Patagonia on the Mimosa and there are clear links to this historic event with Caernarfon.

In line with the Dissertation Topic Diasporas, Loss and Globalisation, I intend to explore issues that affect Diasporic Communities and show that the issues that affect Diasporic Communities/Trans National Groups are not just a modern phenomenon and that they are something that has occurred throughout time.

I also intend to explore the ways in which we identify with a culture – What makes us feel so connected to our homeland and the concept of de-coupling and how this might affect individuals, that sense of rootedness to a homeland – the creation of a separate entity/group from the process of becoming separated from one’s homeland (de-coupling) and the concept that national borders and the local geography in modern times are becoming more fluid, less defined and are somewhat precarious/degrading in nature.

The concept of distorting a print to allude to the distortion of facts by the media is of particular interest and I hope to develop this concept in this project.


Media & Methods (what kind of media, (in addition to sketchbooks) is going to be used – site specific work using ‘found materials’ or indigenous materials, paint, video, constructional-type materials/sculptural materials?):
Experimental Print Making (Rust)



Found Materials – materials that have some relation to the cultures of interest.

Aims & Outcomes (what kind of work is expected – painting, sculpture, photography, installation, combined media, performance, documentary, image/text etc?):
Completed work will be an installation that combines Video, Print, sculpture and found materials.
Supporting Research (which artists, galleries/visits, articles, websites, journals etc will be collected and collated to show relevant research has taken place – this can go in the sketchbook or in a separate file?):
Migration Museum

John Akomfrah exhibition at the Turner, Folkestone

Caernarfon Archives (Patagonia)

Bangor University Archives (Patagonia)

Mona Hatoum


Tutor comments:
Emrys suggested I research the following to create more depth to the content so that there is a greater connection to the artwork – looking at homeland and artefacts/connections.

  • Cbristian Boltanksi
  • Annette Messager
  • David Bohm
  • Alan Watts
  • Boyle Family


Tutor signature:




Student signature:






Independant Study 1: Studio Work

Tuesday 23rd January 2018

Summative Assessment Day.

Reflective Statement

This collection of work considers being decoupled from a homeland and the experience of dispersal that a subsequent journey of migration can bring. A reflection of an individual state of being and a sense of rootlessness and longing, indicates a sub-conscious social-political element relating to the subject of Diaspora.

Influenced by the work of Mona Hatoum and Emily Jacir, this considers a life lived away from a homeland. Relevance to migration is apparent, and comparisons can be made to these social-political issues.

“Once I made the work I found that it spoke of the complexities of exile, displacement, the sense of loss and separation caused by war. In other words, it contextualized the image or this person, “my mother” within a social-political context.”

Mona Hatoum speaking about her film Measures of Distance in the interview with Janine Antoni for Bomb magazine.

An outsider was symbolized using a chair covered with fragments of road maps. This juxtaposed that sense of rootedness with rootlessness and in-betweenness.  It was taken on a migratory journey between a host country and a homeland. Ultimately, being cut in two to constitute two parts and divided roots. This journey was then recorded using photography and film.

The two photographs Lost and Hope suggest that sense of feeling lost, not belonging, yet hopeful of a brighter future. Betwixt alludes to that in-between stage experienced during dispersal from a community. Linger shows our traveller waiting to hitch a ride to the next point in his journey.  Anabasis emulates a moment to wait at a bus stop and reflect before the journey continues. Pausation refers to a moment where rest was taken and a panorama found to contemplate.

The film, Outsider is displayed in a triptych. The symbolic chair travelling on top of the car through a homeland is shown on the left. The central clip demonstrates the outsider represented as part of a migrating community.  He becomes increasingly alone as his journey continues, shown on the right.

In the background, a protest against migration continues as a sub-conscious reference to the aforementioned social-political issues.

Drawing on the work of John Akomfrah, the outsider navigates a seemingly anonymous landscape, lost and isolated with his thoughts and his memories. His suitcase is empty indicating the feeling of loss and emptiness for a life once lead.

The anonymity of the landscape subverts the perception and suggests that this journey could be anywhere. An unidentified location bearing relevance to many that alludes to the fact that stories of migration like this are commonplace.