The Graduate Show 2026

2 – 21 October 2026

Meet The Graduates Sat 10 Oct 2 – 4pm​

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King Street Gallery welcomes 5 talented graduates from Carmarthen School of Art to show their work in our annual Graduate Show which is always a favourite with our visitors. We have Jonas Tew (Ceramics & Sculpture), Hanna Taylor (Fine Art), Efa Pennington (Ceramics & Textiles), Megan Combs (Textiles), Chloe Smith (Photography)

 

Jonas Tew

“I know how it feels, my love I’ve seen a shower turn into a flood. I know how it ends, my love I’ve seen a vulture turn into a dove In the end”—PD Liddle.

 

This body of work, titled Beginner’s Mind, explores transformation through a process of unlearning, radical openness, and renewal. In Buddhism, beginner’s mind refers to a state of approaching the world without rigid preconception. The exhibition considers what it means to remain receptive in the face of instability—to choose curiosity and sensitivity over defence, even when such openness carries risk. Openness here becomes an act of rebellion in a context where cynicism may appear safer and more rational.

 

Tew’s sculptural language originates in an inquiry into the geological formation of clay, where processes of erosion and sedimentation inform both material and conceptual approaches. While the work continues to allude to biological systems and geological forms in Wales, it increasingly operates as a site of psychological meaning. The wheel-thrown ceramic cone remains a fundamental unit within this visual vocabulary, shifting from a symbol of vulnerability and defence toward one of self- reimagination and accelerated growth. Working intuitively, Tew engages in a dialogue with materials rather than imposing fixed outcomes. For the artist, clay, metal, and organic elements are active collaborators. Traditional ceramic methods such as wheel-throwing and coil building are extended through experimental interventions, including aluminium casting into unfired clay moulds and the recontextualisation of pyrometric cones as sculptural motifs. These processes reveal stages of making typically unseen by audiences. Across sculpture and installation, forms appear armoured and pierced, yet remain in states of opening, transition, and growth. Rather than capturing resolved transformation, the work holds it in suspension—mapping a movement from containment toward expansion, and positioning openness as a deliberate and radical act.

 

Hannah Taylor

Painting acrylic on canvas, the pressure of a fast drying medium’s emptying my mind before thoughts can settle. They’re subtle residues of permanence. A consequence of actions against the ruthlessness of time. Those thoughts: Visiting my hometown of Blaina, trapped by endless mountains looming above. The mountains I used to climb for the secret ponds and tyre swings, the feeling that you were swinging off the edge of the world.

 

The frisson of Punk: As a teenager hearing constantly we had to escape the Valleys to better opportunities and a different life. Not doomed to a factory job and council house. To become more than just a product of the Valleys. This project has led to many paintings representing the fragmented connection between myself and my hometown. Works that range from silent simplicity of grief for the place I used to cherish to busy and noisy environments where I feel trapped, a bystander in the storm.

 

Efa Pennington

Efa Pennington is a designer and maker based in South Wales, known for her ceramic pieces with clean, minimalist shapes. Her work focuses on simple forms and thoughtful details, creating pieces that feel both modern and carefully made. Alongside ceramics, she experiments with combining other materials, such as macramé yarn, to add texture and contrast. She is interested in how different materials work together and enjoys mixing traditional techniques with contemporary ideas. This approach allows her to create pieces that highlight the qualities of each material and how they interact. “I’m interested in how materials work together, and I enjoy combining traditional and contemporary techniques,” she says.

 

Megan Coombs

“Colour is the place where our brain and the universe meet” - Paul Klee Megan Coombs is a Textile Designer based in Carmarthenshire who has always been inspired by the stained glass and architecture of Cathedrals. These spaces, rich in colour and light, became a starting point for this project. In particular how light transforms interiors through the stained glass. Some of the key places which contributed to inspiration were, Lichfield Cathedral, Bristol Cathedral and many local Churches. Initial research consisted of the observation of light's interaction with shapes, patterns and space. The change of light throughout the day enhances the repetition of geometric and architectural forms and window structures, which are interpreted through photographic imagery. This informed a series of sketches exploring how these colours, patterns and light can be seen through yarns and structures. Knitting has been the key process to create and develop this work, allowing the experimentation of a combination of yarns, transparency and construction. Through the wide amount of knitted techniques, various samples of densities and openness were created, reflecting the contrast of solid architecture and textures to illuminated structures and windows. “I wanted to make something that was alive with light” - James Turrell Colour played a central role in conveying this message and meaning, carefully selected to the vibrancy and luminosity found within stained glass windows but also keeping in line with predicted colour trends for A/W 2027/28. Sampling and refinement led to a clear design idea. Within the line and influence of churches and cathedrals the idea of creating shawls was the best way to tie everything together. These final knitted shawls combined architectural influence but with a softness and fluidity. Designed to be worn, they interact with light, enhancing colour and patterns to evolve, echoing the atmosphere of sacred architecture. “Colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings” - Wassily Kandinsky

 

Chloe Smith

Arfid reflects a quiet, complicated relationship with the body. Where each day begins with unseen negotiations around food, comfort, and safety. Ordinary meals can carry anxiety, discomfort, and fear, making acceptance and ease feel conditional rather than natural. Yet within that struggle lives quiet strength: the courage to keep inhabiting a body that may feel unfamiliar or uncooperative, and to move forward with persistence, vulnerability, and resilience each day.