1) What was your inspiration for Cerbyd and why do you think the Welsh art scene would benefit from it?

 Tom Goddard: The inspiration for Cerbyd came firstly from our involvement in Garej Art space between June 2007 - August 2008. After exhibiting 120 artists in rolling three week shows over a fifteen month programme, I became most interested in the dialogues created between artist and viewer, particularly from works in progress and their ongoing creative processes. They can suggest multiple ideas and perspectives; like sounding boards that will still be influenced by other voices, unlike the more finite but elusive 'finished' piece. Initially we faced disappointment when we discovered we hadn't secured the funding to continue Garej, but this eventually led me to question the need for a physical space to create and exhibit art.

Secondly, while I worked as AIR on Cywaith Cymru projects in St.Asaph & Holyhead, I felt wholly disconnected and isolated from other artists across Wales - organisations and networks were fragmented or absent. That was four years ago, when I wanted to develop creative connections across Wales. Now I hope Cerbyd will contribute and benefit those existing networks, as well as introduce a unique and refreshing approach to cross-Wales collaboration.

I decided that Cerbyd, the Welsh word for vehicle, could become an apt metaphor for the rise of art and its communities across Wales; a gallery without walls, which is accessible to all and has endless possibilities. Instead of meeting artists online in forums or networking sites, people will enjoy more interactive face-to-face encounters, as well as a stronger and more durable collaborative experience.

Historically of course, artists have worked together for years, from the Kardomah Gang to the Pre-Raphaelite Brotherhood. In Cerbyd and my own artistic practice, I'm also aiming to achieve this - but given the numerous factors within Cerbyd that I can't control, the collaborative process will be that much more exciting and liberating. Obviously I want the artists and groups involved to have a genuinely enjoyable experience and we'll do everything we can to guarantee that - but with this project, the creativity and fun will come from all the participants collectively, not just those leading the activities.

2) You aim to 'develop further the critical network that is growing throughout Wales.' Do you think certain aspects of Welsh art and culture are insufficiently promoted, funded, or tend to show favouritism? If so, what are your observations and where did they take place?

TG: Fundamentally I feel that Wales has many positive things going for it - but we are still playing catch up to the rest of the UK. Through Arc & g39's WARP initiative, a platform is being established for contemporary art and artist-led projects with a focus on critical debate. This needs to be supported to continue the evolution of our identity and the survival of the artist in Wales. Cerbyd aims to be a catalyst for new creative audiences across the whole of Wales. Cerbyd will promote collaborative experience, share networks, spark debate and consequently strengthen and promote Welsh culture at home and abroad.

3) How will you select the geographical areas that will be covered by Cerbyd?

TG: Ultimately, the selected regions will be decided by the special interest groups which apply but we have worked very hard to contact community groups from Anglesey down to Pembrokeshire.

4) Tell us the kind of variety you're seeking from special interest/meeting groups and the creative processes you hope will result from the shared activities between groups and artists.

TG: The types of groups and the activities they offer will be a reflection of sorts of our nation. We've spoken to everything from chess, model railway and pony to luncheon clubs; Historical, bonsai and Re-enactment societies; Bee-keepers, Ale drinking, badger and rambler associations. Each group is as important, vital and specialist as the next. What is so appealing is how the groups demonstrate a similar rigour and passion to that of an artist with his or her materials - and through their shared activities, I hope this congenial passion will become evident.

5) What challenges do you anticipate during the week's creative project, and how might you overcome them?

TG: The week will be a delightful challenge. We will have the basic practical elements arranged, from food to camping, so artists will be able to concentrate fully on the journey itself. Without doubt there will be problems, this is Wales in August, we could have snow or more likely heavy rain! The trip is purposely an intensive experience so that deep and meaningful connections & dialogues are forged. People could fall out due to the complexity of taking in geography, history, language, urban & rural areas & their communities but it is hoped that through our selection process we will curate a group who are both vibrant and passionate in debate but also organically open-minded in discussion.

6) If successful, Cerbyd will work through collaboration, fresh experiences and travel. What other great works of art have also succeeded in similar (collaborative) methods and processes?

TG: The National Eisteddfod's ethic of moving from North to South is a good example of a travelling exhibition that has continually kept its' dynamic nature intact and we would certainly strive for the same. I particularly liked the simplicity of Simon Blackmore's project that toured his 1970's Sprite musketeer caravan through North Wales using it as a mobile viewing station to frame views of the landscape and show landscape themed video works. Apparently the Sprite musketeer fell foul to vandals and I hope Cerbyd doesn't encounter the same violent end.

I've also been looking at The Suitcase Project which happened a couple of years ago at the Old Library where 10 artists 5 from Wales and 5 from Denmark had to create works to fit in a suitcase. Like Cerbyd the project focuses on the creation of new artwork, travel, cultural exchange and portability.

7) What do members of special interest groups gain from the experience?

Brian Watkins: There are many benefits for special interest groups taking part in Cerbyd. Firstly the overwhelming impression, having discussed the project with members of many different groups, is the opportunity and desire to share their passion. This resembles the artistic process of trying to influence the viewer with a new piece of work. Similarly groups will try, by showcasing their interests, hobbies & expertise etc...so to gather support and publicity for their enthusiasm. Perhaps they may even, find among the artists participating in the project, make a new convert or meet a fellow enthusiast!

How do we know you enjoy something unless you try it? Advertisements surround us hourly, tempting us to try bland new products, some may view the act of opening up their group to visitors exactly that but with the difference of offering activities with traditions, skills and historical worth. Furthermore, discussions and dialogue between participants will continue post project, and the span of varying interest groups will continue to create and fuel conversation. Members of groups will have the time to discuss their passion, they may understand a different viewpoint, or reaffirm their passion.

Community is an important issue of contention, many groups are routed in there communities and opportunities to open up, even if only for a brief period, may not come around that often. We hope by visiting communities the project will become the subject of local discussion and may bring communities closer together. The groups will no doubt enjoy re-communing to do something extraordinary.

8) Do they also become artists in the reciprocal activities? Can the artists teach them something too, and will there be an opportunity for them to create something with the artists, as well as the artists creating something as a response to the groups?

TG: We are of course placing an emphasis on a collaborative environment for emerging artists and networks. They will gain confidence in the networking process of approaching, introducing, discussing their work with others and all the other types of discussions that are fundamental to creativity and productivity. A strong artistic society needs constant growth and new ideas & platforms for expression. Emerging artists bring free debate and may challenge what Welsh art is or means or where it is going. I hope that Cerbyd will help emerging artists' stay in Wales and see the project as a stimulating and fertile environment/experience to work in and see that Wales can do this too. Cerbyd will provide quality time for artists to express and share thoughts and ideas both practical and theoretical.

The groups won't themselves become artists but it is certainly their similarity to artists that I find interesting. They are specialists, often obsessive and widely knowledgeable about their subjects. They learn tools, terminology to forward their understanding and enjoyment.

BW: Just like artists!

Groups will offer an activity for all of the artists to take part in and the onus will be on the artists to interpret this as well as respond through their practice to the various elements of the project.

9) Do artists work individually in creative activities, or in groups with other artists and or special interest groups?

What materials will you take on the project and how many creative projects will there be?

BW: This will be very much up to the individual but, as mentioned previously collaboration is paramount and encouraged as the project relies upon it. Cerbyd's focus on discussion and debate will encourage collaboration and partnership and the appreciation of different ideas & perspectives. We are confident that many friendships, connections and frameworks will be made in the process of the project.

In terms of activities, all artists will partake in all activities, whether this is as a whole group, smaller groups or as an individual, will very much depend on the activity, and the requirements and wishes of the group hosting the activity.

How the dynamic between interest groups and artists will work will be very interesting e.g. a buddy system may be used (one group member & one artist) but again this all depends on the requirements of the host.

The best method possible for each activity will be discussed and decided upon (with a few back-up plans just in case!) between Tom, myself and the group leaders well in advance to the beginning of the project.

In relation to the subject of materials, artists will naturally bring along there own sketchbooks, journals and familiar tools for the documentation of their own personal practice.

The numbers of activities could vary greatly depending on the nature of each activity and many other variables. We initially planned 8 activities in 8 days, allowing time for discussion and reflection after each. Saying that there may well be more, again duration and location are important factors in this decision. If a day's activity is short, we will take advantage of other local opportunities, the schedules of the other groups in that region and the types of activities that go on there. We are in discussion with many nocturnal groups, for example astrological societies, Bat & Badger groups & Supernatural researchers.

10) Where and how will the final pieces from the project be exhibited and what do you hope they will convey?

BW: Artistic developments from the project may be exhibited in a variety of ways, I hope they convey passion and provide a window into that 8 day experience which will forever remain a document of the project. We are in discussions with art spaces about exhibiting the completed work

TG: Ideally the Cerbyd exhibition would tour around Wales to each region in the same way Cerbyd the collaboration will. There is also the possibility of showing the work in progress by at the Eisteddfod in Ebbw Vale and streaming the project across the BBC Big Screens.

11) What has been the general response so far regarding submissions of interest?

BW: The general interest so far has been fantastic. To attract interest from the various community groups has required a lot of hard work, as variety and location are very important, so to achieve the best mix has taken time; at this point in time we're very happy with the stage we are at.

TG: ….But not complacent! There is still lots to do.

BW: In regards, to artist's submissions, we have had a fairly healthy amount of expressions of interest, which considering the duration of the project that we initially thought might be sticking point has not proved that way at all. We haven't begun in our push for the artist call-out; we're expecting and hoping the interest to be high.

12) Tell us in a bit more detail about a typical day on Cerbyd. Who would you meet and what and how would the artists create?

BW: Exciting. A typical day would be meeting a group and conversing with many interesting people.

Eye-opening. Considering and participating in some activities that you wouldn't have considered outside of the project.

Interesting. Exploring ways to convey ideas developed during an activity.

TG: Tiring. The project will test each individual in different ways due to the inclusive, all or nothing attitude of the project. I look forward to the ride and helping to make connections, be a catalyst for debate, collaboration and discussion.

BW: Everyday will provide surprises, how can we predict how the artists will work or what they will create? We will simply be providing stimulus for collaboration, and new artistic relationships. I for one can't wait.

Cerbyd (Tom Goddard & Brian Watkins) were speaking to Helen Turner.