Alyn Gwyndaf

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Growing up in a frugal farming family gets you quite used to doing everything yourself; where necessary, finding out how. This has led Alyn on a very meandering course, learning many practical, creative and organisational skills as and when necessary.

In the last few years, he has been exploring ways of bringing together his experience in performance, with writing, media, management and practical, hands-on manual labour.


Radio Pluto (in progress)

An exercise in creating work that doesn't require the artist to be present, this is an ambient installation occupying wifi space and manifest through personal smartphones, tablets or laptops. The journey is one of initial, maybe accidental discovery, leading into a world of fragmentary words, images and sounds, the specific narrative of which is created in response to the location where the piece is sited. It's partly an exercise in pulling together various aspects of digital communication in new and interesting ways, where the platform itself is an exploration of form; partly a storytelling exercise that aims to create or discover the hidden, backgrounds stories of a particular space.

Its first public outing was in Peckham on 10 November 2012, as part of Rare Doings' festival screening of Carl Sagan's Cosmos, revealing fragments from a private sector space exploration, between 1967 and 1987, romantic liaisons in zero gravity, and charred remnants, as represented in an online archive dating from 1992.


Open arts (ongoing)

Initially conceived as a functional tool to help independent artists (and potentially organisations) share administrative resources and processes, this also articulates an underlying political purpose about the relationships involved in making work, and the dynamics of competition and collaboration. Through an online platform, it aims to spread the administrative overhead that doesn't directly contribute to the creative process, to save time and/or reduce costs. The working premise is that, whether or not artists might 'compete' (through choice, inclination or pre-existing structures) for limited resources (of money, time, space or visibility), there are some common areas that are ripe for collaboration.


At First...

A Live Art Speed Date in the form of, well, a date. Not at speed though; more like the first four minutes of a real slow date. Sitting at a candlelit dinner table, how might you engage with a stranger? Whose name takes your fancy: David, Ben, Rick, Simon, Matt or Alyn himself? And you, who would you like to be tonight, or simply yourself?

A celebration of simple human interaction, exploring the pleasure to be had through choosing to connect, wondering how it might develop in a short time and savouring the anticipation.


Sad Santa

Santa in Van (photo: Sara Lehn)A seasonal special, originally created for Live Art Speed Date at Stoke Newington International Airport in December 2011.

A private, one-to-one grotto experience, the work centres around a short piece of storytelling, to explore various means and characteristics of social exclusion and rejection, walking the boundary between inappropriate behaviour and social prejudice.

Here, they focus on Santa's substantial age and body image, and how well cheerfulness and generosity fits in with contemporary mores of surface seriousness and self-interest. Is Santa the ultimate outsider for our times?

May contain scenes of generosity and giving. And food.





The Binman of Love

Binman SignBinman Still (photo: Flavia Fraser-Cannon)

In an otherwise nice and homogenised public space, a grubby big guy in overalls and a hi-vis vest is wheeling a bin: incongruous, ignored or inviting, he represents an intrusion. The adventurous might seek an audience with The Binman of Love and experience an intimate, transformative journey, tickling and challenging the senses, especially those that haven't already been over-stimulated by mass visual communication.

The Binman of Love is a semi-site-specific piece, which aims to explore the relationship between social preconceptions and private sensory responses. In basing this around rubbish, it also highlights issues of waste, disposal and rejection, extending this through the process, with nearly all elements made from found or re-used materials.

To date The Binman of Love has graced the grounds of BAC, Oubliette Arthouse and the Secret Garden Party, in association with Guerilla Science.

A little more about this at the Stolen Words website.

For more detailed commissioning or production information, please get in touch.



Form and Previous

Alyn has extensive experience working in sound, originating with analogue synthesizers and razorblades on tape, as well as film and video production, including consultative roles for other productions. He also has a wide-ranging background in digital media, and in the late 1990s set up and ran South London's first public digital media centre, at The Studio in Beckenham.

Currently, his interests are focused largely in the areas of interpersonal immediacy and engagement, and exploring senses that are intrinsically 'live', such as touch, smell and interpersonal nuance. He continues to incorporate other media into his work, drawing freely on both analogue and digital forms.



Variously passing under the guises of production or project management, direction or felicitation. Planning and creating supportive spaces to help people do good work, often while taking care of numbers telephonic, financial and chronological. Drawing on a wide-ranging experience of creative practice and production, and a background in education and project management, Alyn is increasingly sharing this experience to help producers and artists realise creative projects.