Mia Gwenllian (b.2001) is a multidisciplinary artist based in Shrewsbury.
Her work explores the transformation of memory and inherited history into
material, metaphysical, and spiritual experience through artistic preservation and
archival practice. Employing her background in fine art and traditional
photography, Gwenllian considers material, technical, curatorial care to assemble
images and sculptures that mirror the tactility of past-time and past-life.
Mia Gwenllian has exhibited at the Royal Scottish Academy New Contemporaries
2025, where she became the recipient of the Fleming-Wyfold 2025 Art Foundation
Award.
She holds a First Class Bachelor Honours in Fine Art Photography from Glasgow
School of Art.
I am available as a freelance art tutor, director, exhibition curator and installer,
and creative web design
Her work explores the transformation of memory and inherited history into
material, metaphysical, and spiritual experience through artistic preservation and
archival practice. Employing her background in fine art and traditional
photography, Gwenllian considers material, technical, curatorial care to assemble
images and sculptures that mirror the tactility of past-time and past-life.
Mia Gwenllian has exhibited at the Royal Scottish Academy New Contemporaries
2025, where she became the recipient of the Fleming-Wyfold 2025 Art Foundation
Award.
She holds a First Class Bachelor Honours in Fine Art Photography from Glasgow
School of Art.
I am available as a freelance art tutor, director, exhibition curator and installer,
and creative web design
My creative practice is an esoteric exploration of personal and external archives and
theories that guide a re-interpretation of historical and spiritual identity. I attempt
to find complex truths in objects, images, and shapes, and document how I
physically mend, preserve, and disrupt them through digital scanning, analogue
photography, sculpture, and hand-stitching. I often find that language, translation,
and the hand-written text is a key element, and I am drawn to the idea of
unknowing, concealment, and secrets.
I am interested in how memory and consciousness trasmit a spirit - from my
collection of tainted photo-objects, maps, paper, ephemera - through to states of
recovery, deep meditation, healing, and habitual psychic patterns and behaviours.
For me, collecting objects has been a ritualisation of inner isolation, forming new
meaning and expansion. It is important that the objects I use in my work remain
nondescript in their poetic essence.
I assemble objects into still life displays and photograph them, amending and
capturing their ephemerality as a delicate act of preservation. I develop my
photographs into salt prints, kallitypes, and toned cyanotypes, to point to the
features of historical indexicality - turning the photographic print into a relic, artefact, re-enactment.
I believe that the existence between dimensions - positive/negative, past/future, physical/metaphysical - and the contradictory
dualities that can arise in these extremes is significant within the journey of my work.
Through ambivalence, I am always reaching a psychological state of equilibrium, and this
reflects strongly in the work I make.
theories that guide a re-interpretation of historical and spiritual identity. I attempt
to find complex truths in objects, images, and shapes, and document how I
physically mend, preserve, and disrupt them through digital scanning, analogue
photography, sculpture, and hand-stitching. I often find that language, translation,
and the hand-written text is a key element, and I am drawn to the idea of
unknowing, concealment, and secrets.
I am interested in how memory and consciousness trasmit a spirit - from my
collection of tainted photo-objects, maps, paper, ephemera - through to states of
recovery, deep meditation, healing, and habitual psychic patterns and behaviours.
For me, collecting objects has been a ritualisation of inner isolation, forming new
meaning and expansion. It is important that the objects I use in my work remain
nondescript in their poetic essence.
I assemble objects into still life displays and photograph them, amending and
capturing their ephemerality as a delicate act of preservation. I develop my
photographs into salt prints, kallitypes, and toned cyanotypes, to point to the
features of historical indexicality - turning the photographic print into a relic, artefact, re-enactment.
I believe that the existence between dimensions - positive/negative, past/future, physical/metaphysical - and the contradictory
dualities that can arise in these extremes is significant within the journey of my work.
Through ambivalence, I am always reaching a psychological state of equilibrium, and this
reflects strongly in the work I make.