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Carwyn Evans: UDO

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Mae UDO yn gorff newydd sylweddol o waith gan Carwyn Evans. Cri anifail yw UDO, berf, gweithred o fynegiant uniongyrchol.
Mae gwaith cerfluniol Carwyn yn deillio o gyfosod dau ddiwylliant cyferbyniol - amaethyddiaeth a haute-couture. Mae ei waith yn ymwneud â’r cynhyrchu anochel sy’n digwydd wrth i ni ddefnyddio, a fynegir gan y berthynas resymegol rhwng eau-de-toilette a thalp o gachu. Mae profiad beunyddiol yr artist yn llywio’r cymylu profiadau hwn, gan arwain at dirlun cyferbyniol o bridd, arogl, persawr, dirywiaeth, arswyd, awydd a ffieidd-dod.
Mae gwaith Carwyn Evans yn gwneud defnydd uniongyrchol neu anuniongyrchol o’i brofiadau personol, diwylliannol ei hun wrth archwilio newidiadau cymdeithasol a gwleidyddol ehangach. Cyn hyn mae wedi adlewyrchu ar fudo, cyfieithiadau a threigladau, a'u heffaith wrth iddynt gymylu diwylliant, cymdeithas a gwleidyddiaeth. Cyfeirir at hyn weithiau yn ei ddewis o ddeunyddiau mewn gweithiau mwy diweddar lle mae treftadaeth amaethyddol ei orffennol yn siapio ei eirfa - ond ar gyfer UDO mae'n ymwneud i’r un graddau â chynhyrchu a gweithgynhyrchu trefol (a gwâr) gwahanol a chyflymach: couture drudfawr, y byd celf cyfoes, cynhyrchu teledu a chynllunio setiau sy'n cael eu cyferbynnu â newidiadau tymhorol arafach ym myd amaeth.

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UDO is a substantial new body of work by Carwyn Evans. Translating from Welsh as ‘howl’, udo is an animal cry, a verb, an action of direct expression.
Carwyn’s sculptural work results from the overlaying of two contrasting cultures – that of agriculture and haute-couture. His work is concerned with the inevitability that when we consume we produce, expressed by the logical relationship between eau-de-toilette and a turd. The artist’s daily experience informs this blurring of experiences, resulting in a contrasting landscape of earth, smell, perfume, decadence, dread, desire and disgust.
Evans’ practice draws directly or obliquely on his own personal, cultural experiences while exploring broader social and political shifts. He has previously reflected on migrations, translations and mutations, and their blurring effect on culture, society and politics. This is referenced in some of his choices of materials in more recent works where the agricultural heritage of his past shapes his vocabulary – but for UDO it is as much about a different and more rapid urban(e) production and manufacture: high end couture, the contemporary artworld, television production and set design that is contrasted against the slower seasonal changes of agricultural practice.