Anthony Shapland was born in Pontypridd and now lives and works in Cardiff. He trained as an artist in Southampton and Valencia, Spain. Anthony works principally, but not exclusively, with moving image works and has exhibited nationally and internationally. His work "emphasises the small repetitive acts that flit between humanity and inhumanity – it convinces through its subtle use of the camera as an instrument of stillness and investigation" [Clare Doherty].
Recent exhibitions include:The Unremark, Goat Major Projects, Cardiff, Wales; To Pay Respect To The Generosity of The Three-Minute Punk-Rock Song, CRATE, Margate; Like A Monkey With A Miniature Cymbal, Aid & Abet, Cambridge; Memory of a Hope, Ceri Hand Gallery, Liverpool; The Painting, Supercollider, Blackpool; Setsuko Hara, Oriel Sycharth, Wrexham and Furnished Space, London; LISTE - The Young Art Fair, Basel; Portrait (For a Screenplay) of Beth Harmon, Limoncello, London, UK. Anthony is also active within the wider arts scene. He writes for several art journals and in 1998 founded g39, an artist run space and resource where he currently curates.
Anthony creates, curates, writes, organises and looks at the world around him. All of these verbs help him to navigate life, and the mirror he holds up to it is the visual arts. Switching roles has become more commonplace, but each standpoint needs its own counterpoint. Anthony cannot simultaneously and objectively be curator and curated and there are times when he needs to step away from the former to fulfil the latter. This Creative Wales Award marks one of those times, allowing one year of focused studio development.
Filmmakers and artists increasingly work in similar territory but have arrived at the same point along different pathways. Film schools train ‘ensemble’ workers, where art schools develop a solo, singular approach to creating. Where does Moving Image work belong? Cinema or TV? Anthony is interested in these, but is equally excited by its possibilities within a gallery setting. It is inextricably linked with architecture, in consideration of the audience and its own choreography with other works. So far subject matter has not been mentioned, deliberately so; as the proposed work within this award is open ended. There are recurring motifs within the work, often dealing with moments of change or temporal shifts, often the passage into night or from night to day. Recent works have blurred the lines between fact and fiction. The areas that Anthony is looking at are not definite states; they are fleeting or indeterminate – and the work actually comes from the resignation that it is doubt, rather than knowledge or certainty that is the default state.
You can read Anthony's recent text about his time in the studio at Chapter so far, on our News and Noise page.