Arts Council of Wales | Samantha Wynne-Rhydderch
Samantha Wynne-Rhydderch

Samantha Wynne-Rhydderch

About the ArtistSamantha Wynne-Rhydderch

Born in Aberystwyth, Samantha was brought up in west Wales and went on to study Classics at Cambridge University. This was followed by an MA in Creative Writing at Cardiff. She has published three collections, one with Seren (Rockclimbing in Silk, 2001) and two with Picador (Not in Theses Shoes, 2008) and (Banjo, 2012). Both of the latter were shortlisted for Wales Book of the Year.

From 2001-2004 she was poetry editor on the board of New Welsh Review. In 2005 she was awarded a Hawthornden Fellowship and has received two awards from the Society of Authors and three from Literature Wales. Her third book was selected by the Telegraph as one of the best new books of summer 2012. The same year Samantha received a Leverhulme writer in residence award to work at the National Wool Museum and this year Rack Press published the resulting collection of textile poems.

Samantha has given readings of her work around the world, from the Hay and Edinburgh Festivals to Buenos Aires and Hong Kong. She teaches at Trinity Saint David University.

The Proposal

banjoIn Folding and Unfolding Poetry from Tango Samantha proposes to loosen her relationship with the printed word and to bypass printed publication. Instead she will experiment with new ways of repositioning her poems by working across a variety of artistic platforms. She aims to expand her own poetic horizons as well as engaging with the wider community. She proposes to experiment in a collaboration with a tango dancer, and an accordion player. She’ll also work with a visual artist as well as an actor and a voice coach in order to reconfigure the narratives of her new poems so that they are guided by the rhythms of tango.

Through conversations with paper sculptor, Sophie Bouvier Auslander and with paper artist Guy Begbie, Samantha proposes to create and compose on small concertinas so as to investigate the relationship between object and word, thereby blurring the boundary between page and concertina, allowing the word itself to be transformed into an artefact.


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