Cragen Beca

Rwy’n falch iawn fy mod wedi cael ariannir gan Y Cyngor Celfyddydau Cymru ar gyfer Cragen Beca, prosiect mewn cydweithrediad ag Oriel Myrddin, Amgueddfa Sir Gaerfyrddin a Chlybiau Ffermwyr Ifanc Sir Gaerfyrddin.

“Cragen dro yw Cragen Beca, a gedwir yng nghasgliadau Amgueddfa Sir Gaerfyrddin. Cafodd ei chwythu yn ystod Terfysgoedd Beca gan Rebecca i alw ei Phlant i’r gad yn ôl pob sôn yng nghanol y 19eg ganrif.

 Mae’n wrthrych eiconig i bobl y rhanbarth a bydd yr artist Kathryn Campbell Dodd yn dathlu ei arwyddocâd symbolaidd gan greu gwisgoedd a gomisiynwyd yn arbennig ar gyfer arddangosfa yn Oriel Myrddin a pharêd yn y dref.”

I am delighted to have received funding from The Arts Council of Wales for Cragen Beca, a project in collaboration with Oriel Myrddin Gallery, Carmarthenshire Museum and the Young Farmers Clubs of Carmarthenshire.

“Cragen Beca is a conch shell held in the collections of Carmarthenshire Museum.  it was allegedly blown by Rebecca to call her Children to break the toll gates during the Rebecca Riots in Carmarthenshire in the mid-19th century.

An iconic object for the people of the region, artist Kathryn Campbell Dodd will celebrate its symbolic significance creating especially commissioned costumes for a town parade and exhibition at Oriel Myrddin Gallery.”



Y Bwrdd // The Table at Oriel Myrddin Gallery

Oriel Myrddin Gallery

19 October – 31 December 2019

This series of paintings have been made especially for The Back Wall feature at Oriel Myrddin Gallery to complement Y Bwrdd // The Table, the exhibition in the main gallery space which draws influence from 17th Century Golden Age Dutch still life painting in a contemporary homage to the genre.

“Painted on scraps of supermarket produce boxes in flat emulsion paints, these snippets of still life imagery glory in the colour and texture of the subject matter whilst also echoing the inherent warnings of over consumption contained in the symbolic language of 17th Century still life painting. Perhaps no longer so concerned with the spiritual dangers of over consumption, our contemporary dilemma is far more urgently environmental. The challenge greets us at every turn as we belatedly consider how we can moderate our everyday habits, learn to enjoy less, embrace quality over quantity and de-glorify the beguiling pleasures of consumer capitalism.”

Oriel Myrddin Gallery, Church Lane, Carmarthen SA31 1LH

Open: Mon – Sat  10 – 5

Midsummer Clootie (for Clare): Write me one beautiful sentence…


Oriel Blodau Bach

21 June  – 17 August 2019

In Scots a ‘clootie’ is a strip of cloth or rag and a ‘clootie well’ is a holy well or spring, usually with a tree growing beside it, where strips of cloth, rag or pieces of clothing are tied in the branches of the tree in a votive gesture of healing.

“Midsummer Clootie (for Clare): Write me one beautiful sentence… was made in remembrance of my friend and sometime colleague, artist Clare Thornton, who died in April 2019.”

Made in Roath 2018

Every ornament should have its perfume

Made in Roath 2018 – 32 Kelvin Road CF23 5ET


20 and 21 October 2018 – Saturday 11am – 5pm and Sunday 21st 12 – 5pm



The Every ornament should have its perfume series of works reflects on the legacy of The Arts and Crafts Movement of the late 19th and early 20th Century. The title is taken from Owen Jones’, The Grammar of Ornament. Making reference to the fabric and wallpaper designs of William Morris and lighting designs of W.A.S. Benson, the works are constructed from low grade printed textiles, cardboard and decorators’ paints.

The use of these everyday materials reflects upon the aspirations and argueably the ultimate failure of the Arts and Crafts movement’s socialist idealism and the belief that political and social change can be wrought through the hand-made production of craft, art and design.  With the current resurgance in popularity of the hand-made and the crafted, perhaps as a similar counter-balance to technology and the mass produced, the same questions and challenges arise.

Installed in an Arts and Crafts period home in Kelvin Road, Roath, Cardiff as part of the Made in Roath 2018 festival, the work sits within a kitchen dresser of the period alongside everyday objects selected by the owners of the house.

The work cherishes the desire for change through art and making whilst embracing the inadequacy of that position. It is a small revolutionary act which celebrates the intense labour involved in making by hand and the futility of that gesture in the face of 21st Century consumer capitalism.






History of The Reading Room

IMG_5226I’m so pleased that we are able to show WAS Benson’s original drawings/designs for The Reading Room in Manorbier.

Join us and local historians David Glennerster and Gerald Codd at The Reading Room, Manorbier SA70 7SY Sunday 8 October  2-4pm.

Find out more about this beautiful Arts & Crafts building and see these and more drawings and photographs of the building and locality.


Every ornament should have its perfume


The Reading Room, an ex-village Hall in Manorbier, Pembrokeshire, was built in 1906 by Willian Arthur Smith Benson. Benson was a high-profile lighting designer and a key part of the Arts and Crafts movement, selling his work through (William) Morris & Co in London. Having settled in Manorbier in middle age, he built the Reading Room as a philanthropic gesture to the community.

Kathryn Campbell Dodd’s exhibition reflects on the Arts and Crafts heritage of the building to both celebrate and question the utopian idealism of the movement’s philosophies through a series of new and recent works.

The exhibition title, Every ornament should have its perfume is taken from Owen Jones’ seminal book, The Grammar of Ornament published in 1856 which contributed to reforms in British design and the Arts & Crafts ideals of utility, beauty and fitness for purpose.

Making reference to the textile and wall paper designs of William Morris and the lighting designs of WAS Benson, the new works presented in the beautifully designed and now refurbished Reading Room space are constructed from low grade printed textiles (such as floral duvets covers) and cardboard.

The use of these materials reflects upon the aspirations of the Arts & Crafts movement’s socialist idealism and the belief that political and social change can be wrought through the hand-made or speciatist production of craft, art and design. The desire to challenge capitalism, globalization and the mass production of consumer goods through a return to the handmade, the wholesome and the rustic is a natural and deeply human response – as relevant today as in Morris and Benson’s time. Arguably, the built-in failure of those utopian aspirations however aesthetically and materially seductive is rooted in the problems inherent in taking such goods to market, where disposable income is essential to be able to afford to buy them.

The work on show celebrates and cherishes the desire for change through art and making whilst recognizing and embracing the inadequacy of that position. It acknowledges the intense labour involved in making by hand and, in this instance, the uselessness of the practical product it produces. Low-grade materials and decorator’s paints, beautiful textiles that cannot be used in the home or washed; cardboard from consumer packaging which stands in for the high-quality metals and glass of lighting fixtures.

Morris himself recognized the dilemma and proposed a positive rallying cry for those of us that proceed him “…how men fight and lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out not to be what they meant, and other men have to fight for what they meant under another name.”*

• P20, Introduction, William Morris: Selected Writings and Designs, edited by Asa Briggs, pulished by Penguin Books 1962