At various venues across Wales, the biennial photography festival is showcasing the exceptional contributions of women who are reshaping the art form. This year, the festival features an eclectic array of themes, from x-rayed paintings to familial horror.
I had the opportunity to chat with Marian Delyth, an acclaimed photographer whose work is prominently displayed at this year’s festival. She fondly remembers a moment captured in one of her photographs, depicting seven spirited children laughing joyfully against a backdrop of weathered buildings. I was intrigued to know how she managed to evoke such genuine smiles from them. “I just wanted them to have fun,” Delyth shared, “and somehow one of them ended up striking a Superman pose!”
While her work touches on the familiar theme of “poor children in a derelict urban context,” Delyth’s approach transcends the cliché. Her lens captures the intricate layers of humor and hardship in urban life. Her retrospective, titled “Fragments,” showcases 50 years of her work at Ffotogallery in Cardiff, making it a highlight of Ffoto Cymru, Wales’ international photography festival.
Interestingly, this exhibition pays tribute to Mary Dillwyn, a trailblazer in Welsh photography and recognized as the first to capture a genuine smile in 1853—an act that challenged the strict Victorian norms of photography.
I inquired about Delyth’s earlier work, specifically her black-and-white images of Welsh life in the 1960s and 70s. She remarked, “These photographs are not just images; they’re pieces of history. I printed them myself at home, and each one tells a story.” Her portrait of an elderly gentleman with a weathered face is a testament to resilience, while another of an elderly woman caught in a moment of labor and rest speaks volumes about the spirit of that generation.
Transitioning into the political realm, Delyth expressed her deep-rooted passion for activism. “In the 1980s, I was profoundly affected by political graffiti and participated in demonstrations advocating for Welsh rights, peace, and civil rights,” she explained. Her clean, graphic photography vividly illustrates the ethos of grassroots movements, featuring signs such as “I want to grow up, not blow up.” Viewed through today’s lens, there’s a bittersweet undertone to that optimism.
As we explored her evolution as an artist, it became evident that Delyth embraced color and digital techniques in the 2000s, while maintaining her focus on marginalized communities. She emphasized her role as a catalyst within the photography community, noting her co-founding of Ffotogallery in 1978. “Photography can do so much more than hang on walls; it can foster connections and ignite conversations,” she said, highlighting how little recognition she receives beyond Welsh-speaking circles.
The festival itself spans multiple locations, including Cardiff, Swansea, Merthyr Tydfil, and others, all under the unifying theme “What You See is What You Get?” This title captures the experiences of many women and non-binary photographers, who make up the majority of exhibitors this year.
I was particularly moved by Jessie Edwards-Thomas’s new commission, “Out of Sight and Out of Mind,” displayed in a deconsecrated chapel surrounded by a tranquil cemetery in Penarth. This work delves into the fragility of parenting within a capitalist framework, blending archival photographs, anatomical illustrations, and haunting self-portraits to create an immersive experience.
In a back bar in Swansea, I encountered the works of three South American artists from the Foto Féminas network, each presenting a distinct perspective on motherhood. Julieta Anaut’s vibrant photomontages combine Patagonia’s landscapes with familial heirlooms, narrating complex matrilineal stories. Lorena Marchetti captures the essence of Latin American megacities through panoramic photography that encourages reflection.
Luiza Kons’s staged depictions of her family life in rural Brazil offered a darker portrayal of motherhood, intertwining past traumas with her current experiences. She describes her work as “a mix of Texas Chainsaw Massacre and One Flew Over the Cuckoo’s Nest,” leaving me enchanted by the authenticity and depth of her storytelling.
Back in Cardiff at the National Museum, Holly Davey’s installation “In Plain Sight (Miss Jenkins? After Richard Wilson)” cleverly engages viewers by revealing hidden layers of an 18th-century painting. Through X-rays, she uncovered a previously obscured portrait of a woman, skillfully juxtaposing it with Wilson’s landscape. Davey’s work poignantly highlights the historical erasure of certain bodies and voices.
Organizing a photography festival is no small task, especially with limited budgets and small teams. Yet, Ffoto Cymru 24 has successfully gathered diverse voices and perspectives, shining a light on the brilliance of artists who might otherwise be overlooked. The festival runs until October 31, and it’s clear that it’s hitting all the right notes.
