THE Museum of Modern Art, Machynlleth, is the home for an exhibition by father and daughter artists, Glyn Tomos and Eluned Glyn.

Former Aberystwyth and Machynlleth art teacher, Glyn Tomos, was born and grew up in Porthyrhyd, Carmarthenshire. In 1974 he attended Swansea College of Art to train as a teacher.

He says he is primarily interested in figurative drawing and painting.

During his teaching career he taught art at Ysgol Maes-y-Dderwen, Ystradgynlais and Ysgol Pantycelyn, Llandovery; then in 1977 he moved to Ysgol Bro Ddyfi, Machynlleth, and finally in 1990 Penweddig, Aber­ystwyth. He retired in 2010. Two of his works are in the Tabernacle Collection but he rarely exhibits his work.

“I have never really thought of myself as an artist, just someone with an interest in passing on concepts that I find interesting,” he said.

“I have always been interested in patterns and concepts of all kinds, and this exacerbated by my OCD nature, creates an innate curiosity about nearly everything. My inability to repeat a process or exercise to a successful denouement constantly fascinates me.”

Eluned Glyn is Glyn Tomos’ daughter. She graduated with a first class degree in ceramics in 2012 and describes herself as a ceramic designer. She is interested in the deconstruction and distortion of domestic pottery into a familiar yet foreign form.

Eluned won first prize for a collection of completed work in the arts, design and technology section of the 2015 Urdd Eisteddfod and has been shortlisted for the Young Welsh Artist of the Year for the past four years. She has exhibited widely since her graduation including representing the UK in Milan at the Fabbrica del Vapore for the BJCEM Young Artists Biennale – Mediterranea 17.

Commenting on her work, she said: “I am inspired by the form of classic ceramic pieces from the 20th and 21st century. “The modernist movement has been my point of reference. This is explored through the cohesive integration of form, drawing and surface pattern.

“It is the marriage of form and function that intrigues me and the distortion of the domestic object which is familiar yet foreign in form.

“I break up and re-construct the pieces into a solid block of clay, which is then cast in plaster to about six parts. These pieces are then cast with earthenware slip and fired three times in the kiln to complete the body of work.”

The exhibition continues at MOMA until 23 January.