Mae Alana'n defnyddio deunyddiau wedi'u hailgylchu o'r ardal i greu ei chwrlid clytwaith. Mae'n codi cwestiynau am agwedd pŵer niwclear tuag at ddiogelwch trwy osod tecstilau cartref ochr yn ochr â'r arwyddion iechyd a diogelwch sy'n teyrnasu dros yr amgylchedd mewnol yr atomfa.

Mae'r cwrlid yn golygu rhywbeth unigryw i Alana a aned yng Nghalgary, Canada ac a symudodd i'r DU yn 2007: byddai'r Groes Goch yng Nghanada yn anfon cwrlidau clytwaith i Brydain yn ystod yr Ail Ryfel Byd; maent wedi eu defnyddio mewn protestiadau gwrth-niwclear a mudiadau gwleidyddol radical eraill ac yn ddiweddar, cafodd cannoedd o gwrlidau eu hanfon o Ganada i oroeswyr y swnami a'r trychineb niwclear yn Siapan.

Mae'r cwrlid yn cyfeirio at y diwylliant radical hwnnw ac yn pwysleisio'r cwestiynau a godir am ddiogelwch ynni niwclear. Yn ogystal â hyn, mae'r drws yn adleisio nofel raffig Raymond Briggs am ymosodiad niwclear sef 'When the Wind Blows' (1982), sy'n dweud hanes cwpl oedrannus wrth iddynt ddilyn cyfarwyddiadau ar bamffled gan y llywodraeth am sut i adeiladu lloches.

Mae gan Alana ddiddordeb yn y ddeuoliaeth y mae'r cwrlid yn ei gynrychioli, y modd y mae'n achub y blaen ar drychineb niwclear a'i ymgais i atal hyn ar yr un pryd.

Alana’s patchwork quilts uses recycled fabrics from the area. They have been used to interrogate the safety culture of nuclear power by juxtaposing the homespun textiles with the health and safety signs that dominate the internal environment of the power station.

Born in Calgary, Canada and moving to the UK in 2007, the quilt holds a unique significance for Alana: the Canadian Red Cross sent patchwork quilts to Britain during WWII, they have been used in anti-nuclear protests and other radical political movements and recently hundreds of quilts were sent from Canada to survivors of the Japanese tsunami and nuclear disaster.

The quilt references that radical culture whilst highlighting the questions raised by the safety of nuclear power. In addition to this, the door harks back to the Raymond Briggs graphic novel about nuclear attack ‘When the Wind Blows’ (1982), which tells of an elderly couple as they follow the instructions in a government-issued pamphlet, to build a shelter.

Alana is interested in the dichotomy that the quilt embodies, how it pre-empts nuclear disaster and endeavours to prevent it at the same time.

Artist Cymreig-Ganadaidd sy'n byw yng Ngogledd Cymru yw Alana Tyson. Newydd ddod i ben mae ei chyfnod o chwe mis fel artist preswyl Canolfan Grefft Rhuthun. Mae arddangosfeydd pwysig diweddar yn cynnwys: Crafting Anatomies: Materials, Performance, Identity, Oriel Bonington, Nottingham (2015); Decision Time, Dundee Contemporary Arts, Dundee (2014); Scythia 10 International Textiles Biennale, Kherson Wcráin (2014); Shades by the Seaside, Bathing Machine Intervention, Gŵyl Llawn02, Llandudno (2014).

Trwy ei gwaith mae Alana Tyson yn ceisio gwneud synnwyr o'r byd ble mae hi'n byw. Fel mewnfudwr i'r DU ac fel gwyliwr naturiol, mae hi'n teimlo'n dra ymatebol i wrthddywediadau bywyd bob dydd.

Mae ei chwestiynu ansicr o'r cysyniadau thematig amrywiol yn dacteg i weithio trwy'r problemau y mae'n eu hwynebu, gan gynnwys perfformio, cerflunio a mewnosod a chan ddefnyddio elfennau hapgael, wedi'u newid a'u hadeiladu.

Caiff Tyson ei denu gan ddeuoliaethau ac anghysonderau. Elfen gyffredin rhwng ei deunyddiau dewisedig yw eu cyswllt gyda'r cartref. Mae gwrthrychau dydd-i-ddydd, megis leinin siwt neu gotwm wedi'i grosio, yn dod yn gludyddion ystyr a myfyrdodau ar

Alana Tyson is a Welsh-Canadian artist based in North Wales. She just completed six months as artist in residence at Ruthin Craft Centre in Wales. Significant recent exhibitions by Alana Tyson include Crafting Anatomies: Materials, Performance, Identity, Bonington Gallery, Nottingham (2015); Decision Time, Dundee Contemporary Arts, Dundee (2014); Scythia 10 International Textiles Biennale, Kherson Ukraine (2014); Shades by the Seaside, Bathing Machine Intervention, Llawn02 Festival, Llandudno (2014).

Alana Tyson’s work attempts to make sense of the world she inhabits. As an immigrant to the UK and a natural observer, she feels highly responsive to the contradictions of everyday life.

Her uncertain questioning of diverse thematic concepts is a tactic for working through the problems she encounters, incorporating performance, sculpture and installation utilising found, altered and constructed elements.

Tyson is drawn to dualities and incongruities. A commonality between her chosen materials is their link to domesticity. Everyday items, such as suit lining or crochet cotton, become carriers of meaning and reflections upon Tyson’s deep-routed responses. The material contrasts and tension within Tyson’s work transforms the mundane into the visceral.