“Cynigaf gerflun cyfoes sy’n ymateb i orffennol a phresennol y safle, sydd ar yr un pryd yn symbol cadarnhaol o’i ddyfodol. Carreg ddisglair fel drych yw’r cerflun, wedi ei glastio o ddur gwrthstaen, sy’n tyfu o’r ddaear ac yn ymestyn tua’r awyr. Mae’r ffurf wedi ei seilio ar ddarn o garreg fflint hynafol, ond mae wedi ei drawsnewid i fod yn osodiad dyfodolaidd sy’n debyg i wibfaen arian. Cynrychiola’r cerflun ddyfalbarhad a chreadigrwydd pobl dros yr oesoedd, a dathla ein perthynas hirhoedlog â’r ddaear, a’n gallu i’w drawsnewid yn bositif drwy nerth ein dychmyg.”

“I propose a contemporary sculpture that responds to the site’s past and present, but at the same time becomes a positive symbol of it’s future. The sculpture is a shiny, mirrored stone made of cast stainless steel, which emerges from the ground and points upwards towards the sky. Its form is based on an anciet flint stone tool, but is transformed into a futuristic statement, resembling a silver meteorite. It represents human perseverance and creativity across the ages and celebrates our long-lasting relationship with the earth and our potential to transform it in positive ways through the power of our imagination.”

Howard Bowcott

Dau Lanw Bob Dydd – “Rhythm y llanw sy’n ysbrydoli’r cerflun ac mi fydd yn gyfrwng gweledol i’n hatgoffa bod y mЩr gynt yn dod yr holl ffordd i fyny at y castell gan lenwi’r ddyfrffos. Mae’r cerflun yn cyfleu awgrym o ben pysgodyn, ond yn cyfeirio’n uniongyrchol at lun y rhwydi y byddai’r pysgotwyr yn eu rhwyfo allan yn erbyn y llanw ac yn ôl i’r lan mewn hanner cylch.

Bydd siapiau Cychod Eog Dyfrdwy a chychod o gyfnod cynharach a fu unwaith yn pysgota’r aber yn cael eu torri i mewn i’r cerflun. Mae’r tyllau hyn ar siâp cychod yn cynnig elfen ryngweithiol, fel llefydd i eistedd, i gael picnic, neu i chwarae mig.”

Twice as Many Tides – “My sculpture is inspired by the rhythm of the tides and will be a visual reminder that the sea once came right up to the castle and into the moat. The shape is reminiscent of the head of a fish but refers more directly to the shape of a net rowed out across the tide and back to the shore in a semi-circle to catch the fish.

Cut into the sculpture will be the shapes of Dee Salmon Boats and earlier boats that once worked the river. These boat shaped cut-outs provide an interactive element, as places to sit, to picnic, or to play hide and seek.”

Richard Harris

Teithiau y Flint – “Mae’r ardal sydd union o amgylch y Castell wedi’i diogelu gan ei harwyddocâd hanesyddol ond mae gan y grib arwyddocâd hanesyddol mwy diweddar, wedi’i wneud o rwbel ffatri Coultaulds, gan ei gwneud yn bosibl i mi ei ail-gyflunio ychydig i greu cyrchfan gerfluniol gyfoes. Byddai’r cerflun yn ymwneud cymaint â’r gwahanol lwybrau a fyddai’n cwmpasu’r bryn a’r gwahanol siwrneiau y mae pobl yn eu cymryd i’r brig ag y mae’n ymwneud am yr ardal chwarae / gorffwys lle y daw’r llwybrau at ei gilydd yng nghanol y gwaith.”

Journeys of Flint – “The area directly around the Castle is protected by its historical significance but the ridge has a more recent historical significance, made from the rubble of the Coultaulds factory, making it possible for me to reconfigure it slightly to create a sculptural destination for the present. The sculpture would be as much about the different paths that would encompass the hill and the different journeys people take to the top as about the play/resting area the paths become at the centre of the work.”

John Merrill

“The piece I have developed is inspired by:

The flight of birds, murmurations and steam pouring from the chimneys, the invisible shawls of fish beneath the water and the constant movement of the tides the ebb and flow.

The pounding of the waves, the ever changing patterns of sand banks and the feathery textures left behind, creating fabric like folds or a textile beach.

The rippled shells of the clams fished by the fisherman, the ribs of the wooden boats sinking in the sand.

The movement of the tides, the migration of the birds, the movement of the sand, the migration of fish, the movement of the industry, the migration of people.

The ebb and flow on the sports field the forming of a maul or the collapsing of a scrum.

A space to stay still in for a brief period while the children play moving migrating around the sculpture.

A space that a story, play or song might be performed from a small amphitheatre.”

Rich White

“Fy mwriad gyda’r cerflun hwn yw dathlu’r gweithwyr a’r crefftwyr a adeiladodd Castell y Fflint ac, drwy estyniad, roeddent yn gyfrifol am greu a thyfu’r Fflint fel tref.Fy nghynnig i yw creu strwythur ar lwybr yr arfordir yn union i’r gogledd o’r castell sy’n adleisio dimensiynau a ffurf y tyrau, ac mae hefyd yn ail-greu’r profiad o sefyll y tu mewn i’r tyrau. Gwneir y ffurf hon allan o bron i 300 o golofnau fertigol main tua 9m o uchder. Trefnir y colofnau mewn sgwâr sy’n mesur 12x12m. Wrth i’r colofnau gydgyfeirio tuag at y canol maent yn dechrau ffurfio cylch, gan greu agoriad cylchol 6m diamedr y gall pobl gerdded drwyddo a sefyll y tu mewn iddo. Effaith hyn yw creu ‘ysbryd’ twr crwn o fewn ciwb colofnau.”

“My intention with this sculpture is to celebrate the labourers and craftsmen who built Flint Castle and, by extension, were responsible for the creation and growth of Flint as a town. My proposal is to create a structure on the coastal path just North of the Castle which echoes it’s dimensions and form, and also recreates the experience of standing inside the towers. This form will be made of nearly 300 slender vertical columns approximately 9m high. The columns are arranged in a square measuring 12x12m. As the columns converge towards the centre they begin to form a circle, eventually creating a 6m diameter circular opening which people can walk through and stand inside. The effect of this is to create a ‘ghost’ circular tower within the cube of columns.”