Cwlwm Dynion explores two interconnected themes: Men and textiles, and male connection.

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The medium is inspired by 18th and 19th-century military quilts, traditionally made by men using wool uniform fabrics and the intarsia technique, a form of patchwork similar to marquetry. A notable example by James Williams was exhibited at the National Eisteddfod in Wrexham in 1888.  This is a developing project consisting of six pieces to date (July 2026). The pieces consist of  portraits, a self portrait and those of family members/ancestors. As the project grows the artist plans to expore male friendships as well as familial connections. The borders are updated military quilt designs, including outer blocks that are believed to reference military fortifications.

 

Following the tradition of military quilts made from tailors' offcuts or old uniforms, these works utilize 100% recycled fabrics.

 

The artist challenges the oversight of men's contribution to craft textiles, often sidelined as a female activity. While works like Rozsika Parker’s The Subversive Stitch and Joseph McBrinn’s Queering the Subversive Stitch may unintentionally discourage male involvement, both grandfathers , featured in this project, were skilled, practical and decorative needlemen. The artist chooses textiles as a medium for conceptual representation. The central metaphor of a knot or stitch symbolises the strong, familial male connections within this work.