Siôn is a multi- medium skilled Welsh artist and ceramicist living in Cardiff, who has studied Fine Art (painting) Wimbledon College of Art (UAL) in London and have continued producing art and non- functional and functional ceramic pieces since then.

Through the medium of illustrational Ceramics and drawing, his love of natural Welsh wildlife, from birds to butterflies has been a focal point throughout his practice. Through underglazes, Watercolour and fine lineal pens, Siôn has been able to portray his unique dotted drawing style (which was developed in Wimbledon) and celebrate the individuality of different native species and adding an element of mythology to these creatures.

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Plas Bodfa- Bodfa Continuum

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An evocative memory I share with my mother and family is exploring Niwbwrch and Dinas Dinlle searching for cowrie shells, and it has become a key element of my perception of Ynys Môn and of my whole upbringing. Having left North Wales, holding and seeing cowrie shells always brings be back to another time, and their existence reminds me of how Niwbwrch - an old haunt, still stands strong, despite my leaving North Wales during adulthood.

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Evoking the timeless summers spent on Anglesey beaches as a child, this hand-made collection of cowrie shells is scattered throughout the exhibition, as they were on the beach, waiting to be found.

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Evergreen 2019

Siôn relishes in re-visiting the 'evergreen'- a term he made up 'During the Aće Artist residency at Buenos Aires, Argentina which describes the loneliness of being outside of nature. It's a very present theme in his latest work, which was done in awe of being able to re- submerge himself in nature after shielding for almost a year. The natural world and our lives are full of oddities, unevennesses, abstraction and structure which Siôn enjoys incorporating in his paintings, artwork and soul.

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Degree show London sculptures 2017

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Some of the sculptures he produced during his degree show in Wimbledon College of Art 2017 (UAL), suggest unfinished architectural maquettes, from a foundation of perspex, MDF and Steel. He also utilises drawing and writing within his artwork. The combinations of haphazardly painted DIY material, alongside an apparent disconnect of scale; allude to governmental disputes with contemporary urban planning in a flippant yet genuine tone. He also ventures out into areas he feels a strong sense of connection or dis-connection and utilizes super 8mm film and digital/analog photography in a parallel act to his art projects, and draws attention to the raw environment created by society.

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The resulting pieces contain the spirit of train stations, factories, superstructures and terra-forms. He rejoices in this visual perception of pleasing structural spaces, while his eye is drawn towards bold lines and hard surfaces. The aim is to draw attention to sublime aesthetics of dystopia, chaotic intricate Metropolises and the memories of childhood scenery as spaces in their own right in conflict with each other; connecting dissected and constructed forms and fractals. He has explored this through forms of reductionism, removing complex annotations and displaying the pieces as vast spaces- as an ever expanding world. The works encourage viewers to consider visual language and conflict that manufactured and rural landscapes share, and to explore the beauty of the desolate and degenerate state of formational urban and botanic dream like spaces.

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Siôn´s practice is concerned with jarring spaces derived through wandering capital cities and recollecting his past green and costal serenities. He explores muted construction sites and clandestine regions of the city to the high- end super- structures which are perhaps designed for the elite to look down (both literally and metaphorically) on the populace. He combines the emotion that these places emit with memories and landscapes from his childhood upbringing and the feeling of disconnection he encounters since moving to the big city.

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With sociopolitical apocalypse bunkers and Trump Towers spawning throughout the world, architecture has become an implement for the elite to display their superior wealth and thus dominance over the masses. Sion emits juxtaposition of these structures with memories of Welsh landscape and politics. In a sense the emerging art-work question the faculty and integrity of these newly constructed sites, and his personal relationship with them.