About the project

Cymraeg

  • About_project

Simple Image Gallery Extended

Ainsley Hillard is interested in bringing together the past and the present through site-referential installations that speak of specific places and the memories they hold.

Research of the social-history of Aberglasney and the noted poetry of former resident John Dyer, has acted as a catalyst, inspiring her to develop and create a series of woven textiles and motion activated audio installations. 


Ainsley has collaborated on this project with musician and sound engineer Rhys James. Together they undertook a number of site-recordings capturing the unique seasonal soundscape within Aberglasney and its Gardens.

Within the Cloister Garden, an audio installation reacts to visitor movement and weaves together the aural soundscape of the house and garden with fragments of John Dyer’s poems ‘Grongar Hill’ and ‘The Country Walk’ and the recollections of local residents.
Woven in juxtaposition to the natural soundscape and spoken word are the amplified sounds of passing aeroplanes overhead and the ringing of bells at Llangathen Church, in response to Dyer’s ‘noise of busy man’ in Grongar Hill.
These recordings are merged together and highlight the affective bond between people and place, and the interweaving relationship of land and language, into something that is historically and socially experienced.

The selective amplification of sounds fading in and out is reminiscent of weaving, the threads coming to the front of the fabric, rising to the surface and then below the warp threads, to create a sonic structure.

Each encounter unlocks a different fragment of poetry or spoken voice echoed through the space, composing a unique experience for each person.

A window in the house is transformed into a ‘speaker’, which connects the internal room with the external Cloister Garden allowing spoken fragments of poetry to permeate and echo simultaneously inside and out.

During this period, Ainsley sketched, recorded and photographically documented aspects of the landscape as well as the interiors of the house not yet open to the general public. The ephemeral textures of light in the landscape and the shifting shadow reflections of water are transfigured into jacquard weaves, in which Ainsley renders the tones of photographic images into a series of woven structures and material forms.

Their titles ‘Murmur’, ‘Whisper’ and ‘Waving Wood’ reference the poetry of Dyer and make connections with an aural and tacit knowledge. ‘Quiet Light’ and ‘Sunbeam on a Winter’s Day’ are both hand woven structures depicting intimate images of the interiors of Aberglasney.

Enabling the space to speak its past through the echoes of the present, the audience becomes immersed within the textures of this unique place.