Clarence Hardware

Alec Stevens is a visual artist that makes sculpted objects and is focused on telling stories that are often not told. The projects he undertakes are rooted within the research of a particular location and the presence of people there over the course of history.  Alec has developed work centred around the Hollymans Bakery (now Clarence Hardware) in Grangetown, Cardiff. He is interested in the events leading to 10 named and 22 unnamed people taking shelter in the bakery’s basement on the evening of the 2nd January 1941.

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Clydach Street

Jason&Becky are collaborative artists based in Swansea. Their practice is often interactive in nature, involving participation and audio-based work, which aims to explore relationships between people and place. Jason and Becky made work around Clydach Street and in 2020 they had a brief conversation with a resident who has lived there all her life. She was very young during the Blitz, but remembers that her brother used to swap comics with one of the lads who was killed on Clydach street in the bombing, 14 year old Dillion Lyons.

Jubilee Street

Secondson is a musician and record producer, who creates work predominantly with analog audio equipment, with an emphasis on synthesised and sampled sounds. For the Night-time Blitz Experience Secondson worked closely with the audio collected by Grangetown Local History Society and with a halldorophone, the instrument can create a very industrial, mechanical, almost drone like quality coupled with traditional amplified cello sounds and any sound source that can be sent into the amplifiers.

Ferry road / Holmsdale street

NTBE Young Peoples Group are a group of 11 local young people, Marwa, Suhur, Ollie, Nirushan, Saynab, Ibado, Ella, Ayan, Mohammed, Malik and Ikram who have been working with artists and creative producers including Mathilde Lopez, Kyle Legall, Samatar Elmi and Michael Harvey. The group used a research-based creative process to explore images from the Glamorgan Archive and residences' memories of the Blitz and use them as a starting point to construct a collaborative audio soundscape and live drawing. ‘The work that the young people were intending to make for TNTBE was a performance and not an online work. This film is not a ‘piece of art’, it is not what the group was working towards, it is a gesture, a record and acknowledgment of the work that the group did, their journey and contribution to the project. The footage is taken from mobile phones some of the 10 session and the audio is a skeleton of samples they created that the group would trigger live.’

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