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Culture Colony has intervened into the normal gallery scheduling at MOMA Machynlleth by taking over the programming of the sculpture space, a former tannery, for this spring and summer. 

We have given several artists free reign to experiment and explore the Old Tannery space with their work. The first artist to intervene was Edwin Burdis who placed a small unfired clay figure called Y Dyn Bach - The Little Man to stand all alone on the floor. Even though he was only a foot tall, The Little Man, wearing a strange blue onesie and carrying the pot belly of a middle age spread, dominated the space. 

The works placed in the Old Tannery sculpture space are visible from the public road outside through large windows that begin at floor level and rise to around seven feet. This means that the artworks are also viewed by many people that just happen to be walking by. The works placed in this gallery are lit from an array of lights above them which remain on throughout the night. Viewing the artworks from outside after dark is one of my favourite pleasures on a walk around town and I'm sure that after being intrigued by sculptures accidentally seen by people walking by, going to the shops or on a stroll with their dog, some of them have been drawn into MOMA Machynlleth, many of whome might otherwise avoid confronting contemporary art. So, it's an important space for MOMA Machynlleth and we are very grateful for the opportunity they are offering to artists through our interventions. Little Man was lit by a single spotlight and he shone out of the space if you saw him while passing at night. 

The work shown in the space prior to the Culture Colony Interventions beginning was Andrew Logan's Cosmic Egg. This was a very large single sculpture, at 4 meters tall it physically and metaphorically really filled the space and was loved by all who saw it. Covered in a mosaic of broken mirrors it was spectacular and remained in the space for quite a long time. Long enough for a young family living nearby to get to know it so much that the children were heartbroken when one day they noticed that their egg had gone. Only to be reassured when their mum noticed Little Man. In their narrative of events it was obvious that this little blue figure had hatched from the huge egg. 

The second intervention was from Eli Acheson-Elmassry who utilised the great height the gallery offers, as the original building could possibly have had three floors here but they no longer exist, and the space extends upwards to the roof. Her work The Great Endless Plait was hung from a beam high up and draped down into the space coiling into a spiral on the floor. Looking like a giant Rapunzel had let down her hair, the plait was made from orange and yellow cottons and satins died in turmeric. On the floor the plait split into many strands and visitors to the space were invited to participate by continuing the plait by adding to it with the material available to them in a basket. 

The atmosphere was enhanced with the aroma's of essential oils that Eli had used to fill the space as people chatted together as they plaited. 

The artwork was dedicated to Tony Davidson who had worked all over the world for the British Council and Eli had known since childhood. One of the visitors who took part in the plaiting had also known Tony Davidson. She was able to add to the work, and Tony Davidson's memory, by using material she had brought from her own home and therefore she gave the work an added personal impact through her own intervention. 

The third and current intervention is by Colin Williams. 

Made with enamel paint in oil on boards the configuration of the work can vary. These boards have been shown before at Oriel Mostyn in Llandudno in an installation called Correlation in 2011. Now, after working out a configuration specifically for the Old Tannery space using beer mats to represent the boards, this new installation is called Assemblage.

Sculpturally the placement of each board explore the possibilities of the space, some flat on the floor, others leaning against walls and some creating a large cube just off centre of the space. As paintings the boards are totally abstract fluid shapes of colour held in by the standardised square shape of each board. Colin Williams used oil in the application of the enamel paint to achieve the marble type effect in the flowing colour shapes, tilting the boards and banging the boards to manipulate the paint as it dried while retaining the randomness of this process.

Colin Williams' work maps out the possibilities of abstraction through the effects of nature on the physicality of paint, and the relationship between colour, shape and form. Linked is an interest in the place of art, in terms of where and how its made and shown.  In Assemblage Colin takes forward these ideas to create this work for the Sculpture Space which explores the unfolding sequences that can be produced out of the one given shape of the square boards, in a play with its slippage between painting and sculpture, Minimalism and Maximalism.

Although the pieces of work on each board carry the same overarching title, Assemblage, they can stand alone as pieces that carry their own colour, composition, contrast, depth, process and responses while also creating a visual language that is hard to resist; the viewer is drawn in to respond to the chaos and order that mirrors the certainty and chance of everyday life.

Assemblage will remain in the Old Tannery until June the 8th and will be followed by the performance work of Carmel George who will be intervening in the space for two days on the 9th and 10th where visitors to the gallery are invited to watch her performance based on her experiences while immersed in the landscape.

Site Sit will begin their intervention on Monday the 12th. Site Sit is the collaborative artistic and curatorial practice of Lauren Heckler and Sophie Lindsey. The work they create during their intervention will involve audio and video recordings made in the town of Machynlleth itself.