A COLLECTION OF SEA STORIES FROM THE MEMORIES OF HY THE MARINA RESIDENTS
FEATURING PHOTOGRAPHY FROM AROUND THE AREA SHOT ON 35MM FILM
CONTENTS
FOREWORD
07
‘MAN OVERBOARD’
09
‘BISCAY CROSSING’
15
‘GRYTVIKEN 1984’
27
‘A NIGHT TO REMEMBER...’
33
‘MAY DAY’
49
THE EXHIBITION
55
ESSAY: ‘THE PASSAGE OF TIME’
61
FOREWORD
‘Memories of the sea’ aims to capture
ways of the past, and then present them within a modern context. Traditional
methods of sign painting inspired the
aesthetic style of my work, referencing the lost art of hand painted typography on boats.
The concept for my project is to use this aesthetic to present people’s
memories and stories. Therefore, the exhibition itself serves as a space in which these signs can be fully appreciated together, in order to
create a glimpse into the narrative of each quote.
Each sign has been hand painted and the array of typefaces are inspired by the
diverse nature of signage, therefore to reflect this, the sizing and scale also vary from piece to piece.
Nostalgia is another key element of
this project, and this idea is conveyed through the telling of stories and past memories, whilst the visual styling
reflects traditional methods of design from the past.
MEMORIES OF THE SEA // FOREWORD // 07
As well as the work produced for the actual exhibition display, this book
also serves a significant purpose. The
content includes the full stories from
which some of the quotes are taken, each story having been written and submitted to me by the residents of Hythe Marina. This book contains five short stories and a series of my own photographs. These images focus on the marina
area itself, to capture the maritime
atmosphere of the surroundings. All of
these images were shot on 35mm film with a Nikon EM, in order to maintain the visual authenticity of the past.
As well as the short stories, this
book also contains a synopsis of the exhibition. Including imagery of the work displayed, alongside the marina residents who attended. I have also
attached a chapter from an essay that
I recently wrote, there is a significant relevance as the essay explores how
the passage of time has an impact on visual culture.
- George Lavender
MAN OVERB OARD
We left hythe in my contessa 32 sarukh early in the morning to compete in the
nab tower race - my favourite race apart from cowes week.
We got to the start line off cowes with a mixed fleet of about 300 boats. As
usual there was a lot of barging and
crew yelling starboard to gain a good position 5 mins before the start. We had a good start with large fleet of
sygma 33s alongside in front and behind - none more than 10/15ft apart - tight racing indeed.
After about 15 mins we had a wind shift which took us from a broad reach to a dead run but with the tide with us
we sailed along with a large spinnaker pulling well so my crew pal oli set himself against the boom to avoid us gybing.
MEMORIES OF THE SEA // MAN OVERBOARD // 09
Escapade, 26 Shamrock Way
Fenders by the mooring
Unfortunately a few boats did so
only about 2 boat lenghts behind us
causing me to involuntary gybe which
had the immediate effect of catapulting oli over the side and about 12ft
away oli was wearing a racing lifejacket un inflated and I immediately asked him
to pull the inflate cord. I was concerned because he was wearing sea boots which became full of water.
Oli‘s reaction was to smile and wave to
say he was ok but he didn’t want to have to replace a £5 gas cartridge. So be it - I immediately luffed up whilst we got oli back on board - still smiling!
Cloudy day on the marina
MEMORIES OF THE SEA // MAN OVERBOARD // 13
He immediately went below to change all
his wet clothes and we all had a coffee. It was only after me asking him to go below again to rest did we continue
with the race - round the nab tower and back. Oli slept well for a long time
until he came on deck seeming no worse for the ducking.
Oli drove back to farnham ok but he woke up during the night with the shakes. His mother - who was my
neighbour, before I moved to hythe, rang me for the full story.
Oli went to the doctor for a check up, he was ok but 10/15 mins in the solent
is not a good idea. So please take care folks and do wear lifejackets!
BISCAY CROSSI NG
My wife Steph having brought the boat, an Oyster 435, down to Concarneau with me in May 2004 was dropped off at St
Malo and the Biscay crew of old racing
mates Tony, Mark and Nick collected from the same morning ferry from Portsmouth, complete with sun sight tables and internet weather forecasts. After
dropping off the hire car and obtaining additional groceries at Concarneau we
were ready for departure and checked the forecasts again via satellite.
These showed a low moving offshore
through the Biscay area going South Westerly 5 to 7 which should have
cleared into the Plymouth area by late
morning of 30th May. The immediate local forecast for Concarneau was for a North Westerly 3-4. Off the Spanish coast the forecast was for a North Westerly 4-5. We therefore judged that the worst
weather would be to the north of us
and it would be an improving situation for the Biscay crossing and set out at 6.30 on Sunday 30th May. Nick declared
that he never suffers from sea sickness and all of us were looking forward to a good sail.
MEMORIES OF THE SEA // BISCAY CROSSING // 15
Jetty, 34 Velsheda Court
Pier Bridge, Hythe
We motored initially to clear Concarneau harbour with its fickle winds and then managed to sail in 8-12 knots North
Westerly’s with genoa and full main in kind seas and sunshine making between 4.4 to 6 knots until 20.00 hrs. We
even managed to try a sun run sun sight during this period achieving an error of 20 miles compared to the GPS which we blamed (well you would) on the ships clock error.
At this point the wind backed to South West and started to increase to 22 knots true with the sky grey and
overcast (just like the Solent). We had a choice, as clearly the 5 to 7
originally forecast had not completely cleared the area, and this was to sail out into the Atlantic on a clearing course but not in the direction
we wanted to go or to motor sail to increase the distance to the French
lee shore, heading down to the Spanish coast on the understanding that the
wind would free off as we closed Spain. We did not want to risk sailing towards the French coast as this was a shallow
MEMORIES OF THE SEA // BISCAY CROSSING // 17
lee shore but the thought of closing
with our objective was too strong and we decided to motor sail. By this time Nick was suffering from sea sickness and was laid up in his bunk increasingly unable to take fluids or solids. Tony and Mark
were also sea sick but able to carry on in various degrees.
We checked the satellite forecast again which confirmed that the wind should
free as we approached the Spanish coast and we therefore elected to carry on.
However, the sea state was surprising as although it was in excess of 1000m deep the waves were short and steep like a
Solent chop making progress difficult and very uncomfortable. We were shipping a fair amount of water over the deck.
We carried on through the night towards the Spanish coast eating baguettes,
biscuits etc and taking fluids as tea
Houses over the water
Yachts in the sunlight
Rope around winches
MEMORIES OF THE SEA // BISCAY CROSSING // 21
coffee and water. Nick however was
not able to take anything but being a generous soul was still trying to “give us presents� and we were becoming concerned.
At around 1100 hrs on Tuesday the wind started to veer towards the West and reduced to 7 knots true. This was a
welcome respite although the sea state was still lumpy. We had intended to go
to Portosin around Cape Finnisterre but decided that if Nick could not keep a
good meal and drink down by lunch time
we would divert to La Corunna and motor sail with the main up.
Miraculously Nick stared to improve
and had a good hot meal that lunchtime. Better still he even kept it down
with water and we decided to carry on to Portosin.
Approaching Finnisterre that night
the wind started to increase and we
managed to set a full genoa with main and started sailing again. This was
later reduced to headsail only as we approached Finnisterrre in a 25knots true North Easterly with gusts up to 34 knots but the autopilot was managing brilliantly.
The boat was surfing at 11.5 knots around the cape in gusts of up to
40knots.However, daylight was breaking with sunshine for the first time and we
were now enjoying it being well fed and watered too.
“But that will be another story�
Sunset by the lock
We turned in for the Ria De Muros in a heatwave with bright sunshine and
fantastic scenery arriving in a very
hospitable marina in Portosin at 12.30 on Wednesday to a welcome beer, a few days sightseeing and Rioja tasting
before catching a flight back to the UK. Our log read 428 miles for the trip
in 80 hrs ie 5.35 knots - not exactly racing performance but not too bad
given the conditions. The boat behaved brilliantly feeling very secure throughout
although we shipped a fair
amount of water into the forecabin
during the passage - mainly due to a new deckwash pipe not being sealed through the deck and my having forgotten to blank off the ventilators.
MEMORIES OF THE SEA // BISCAY CROSSING // 25
Would we do it again? The log reading says “remind me about Biscay before
thinking about the Atlantic and the Med now looks good”. However, that was a
couple of months ago and memories have the advantage of the bad ones fading with time.
Since that passage in 2004 we made it to the Med and after holing up in Portugal, Spain, Balearics and Italy we cruised to Greece before selling Roysterer in 2011. Our plans now are to “sail” our newly acquired motor boat around the Baltic and possibly around Britain together with racing...
But that will be another story.
GRY TVIKEN 1984
View from the common
We joined the Royal Navy to go to sea
– but engineers do so only rarely. As a
result, the greatest threat to me during the Falklands War of 1982 was that of being run over by a bus in Whitehall outside the Ministry of Defence.
Two years later, however, it finally was my turn to go to sea again, this time on the staff of the Naval Task Group
deploying south to the Falkland Islands. On arrival, the warships went off on separate patrols around the places that had been so much in the news two years before.
MEMORIES OF THE SEA // GRYTVIKEN 1984 // 27
An enormous amount has been written
about the war – some of it by people
who were there and far too much of it by people who weren’t, so there is no virtue in covering such well-trodden ground in a short piece like this.
Instead I could offer one aspect of my visit that made a big impact on me at the time; namely a fine example of the Law of Unintended Consequences.
On one of our patrols the frigate on which I was based visited the small
settlement at Grytviken. The town had been a whaling station, to which the
Scandinavian whaling crews had returned each year for the “season” when the
whales also returned - and were duly hunted. Finally the international
opposition to whaling reached the point when one year the crews did not arrive, and they never did again.
“The place was still frozen in time�
View from my room
MEMORIES OF THE SEA // GRYTVIKEN 1984 // 31
The important point to note was that, when the crews departed at the end of each season, leaving Grytviken
deserted, everything was left ready for the next season; the complete town,
the accommodation blocks, the harbour, the storehouses, the whaling ships
themselves, the complete infrastructure for an entirely self-sufficient and remote society.
But the whalers did not return and
the place was still frozen in time – literally - when we arrived several
years later, even down to the perfectly preserved prayer books lined up on the shelves on the beautiful little wooden Norwegian Church.
The only witnesses to this sudden end to an entire way of life and death were the elephant seals on the beach... But as
you can see from his chin, the fighting was still going on!
A NIGHT TO RE M E M BE R. . .
We are on our way from the Marmaris area of Turkey, via the Datça peninsula, to the Greek Dodecanese island of Leros, where we will be lifted out at the
Partheni boatyard at the north of the island, for the winter.
We have a Kindle 3G on board, so are
able to keep up to date with detailed weather forecasts from web sites such as Windguru, even when at anchor in relatively remote places, such as
Knidos – an ancient harbour with ruins of the theatre as a backdrop to the anchorage - at the western end of the Datça peninsula.
Thanks to the Kindle, we were aware
that there was going to be a moderate Southerly wind to help us get from
Knidos up to Bodrum, where we hoped
to stay in the Milta marina for a few nights while very strong (up to 40 knots) winds from the SSE - S blew for a few days.
We reached Bodrum marina by early
afternoon on Saturday the 8th, but were told they had no room, so we went to anchor at Mud Bay, on Black Island, about 3 miles to the south.
MEMORIES OF THE SEA // A NIGHT TO REMEMBER... // 33
Pier bridge, Hythe
The winds were still only moderate, so
we were able to anchor in about 8 metres of water and take a line ashore. I put out 60 metres of chain, and used the
tender and outboard to take a long line
ashore, which I made fast around a rock. I then returned to Harbinger, and left the tender, with outboard, tied to the
stainless steel gantry above the davits, to be ready to go back to untie the rope from the rock after the strong winds had subsided.
Houses by the shore
MEMORIES OF THE SEA // A NIGHT TO REMEMBER... // 35
By midnight the winds had built up to
their full strength, but were from the
East - (instead of from the SSE, and due later to be from the South, which would have given us good protection) - so we were being blown sideways, towards a
large day-tripper boat which was berthed at a jetty, with a long anchor chain
out. I put our engine on, and we used the electric windlass to shorten the amount of anchor chain to 50 metres,
to keep us clear of the other boat and its anchor chain.
By 3am the winds had increased further, and we had been blown very close to
the day-tripper boat, so I decided to jettison the line ashore, so that we
could swing out to be in line with the
anchor chain, and let the wind blow onto our bows, rather than across our beam. The line was attached to one of our
cockpit winches, and I am always very
careful about taking ropes under tension off winches, but this one was too fast for me – the last few inches came off
“By midnight the winds had built up”
Still water in the marina
Lock controls
MEMORIES OF THE SEA // A NIGHT TO REMEMBER... // 39
very fast indeed and lashed my left hand, drawing blood from one of my
fingers and bruising a knuckle – but fortunately nothing was broken!
Once we were free of the line ashore, we swung out OK, well clear of the
day-tripper boat and its anchor chain,
although we were now closer to a number of other boats at anchor, one with what appeared to be a glow-worm in a jam-jar
as an anchor light, and some without any lights at all!
Harbinger was bobbing up and down
in the wind and the waves, with the
tender and the outboard bobbing in the water behind us - but the anchor was
holding. However, the winds were getting stronger, so I decided not to rely on our GPS “anchor drag alarm”, but to
stay in the cockpit in case the anchor eventually started to drag.
At some point after 3am, I noticed that the painter (rope) for the tender had disappeared - the tender and outboard had gone - presumably the constant
tugging had caused the line to become undone, even though in all the years we’ve had Harbinger, we have not had
a problem with this. What a disaster!
Without the tender, we are unable to go ashore if we anchor anywhere – we’ll
have to use marinas from now on, until it is replaced.
Sunrise at the marina
At about 4am, I realised that a very
large gulet, which had been about 100 metres in front of us, was getting
closer – it was dragging its anchor,
and moving directly towards us. I shone our most powerful torch at it, but that seemed to have no effect, so Jeanette passed me our Fog Horn. I gave him a few blasts, and they started their
engine when they were about 30 metres from us, and moved forward, and away into the darkness.
As it began to get light, around 6am, I could see that several of the boats which had been at anchor near us, had
disappeared. Goodness knows where they could have gone!
Between 8am and 9am we had severe
thunder and lightning, with several
flashes and huge bangs going off almost simultaneously, at different places,
all around us. I’d never been in such
conditions before. The winds, still from the East, were well over 40 knots, and
I could see walls of spume about a foot
MEMORIES OF THE SEA // A NIGHT TO REMEMBER... // 41
Cabin door
high, with occasional columns of spume several metres high, coming towards us – and when they reached us, the noise
in the rigging rose to screaming levels
(i.e. the wind was screaming – not us!). Then there was a sudden wind shift, instead of coming from the East, it suddenly changed, and came from the
West. Our 14 ton boat was swept along for what must have been almost 100 metres until the anchor held us in
what was to be our new position for the next few hours.
Meanwhile the day-tripper boat, which
we’d moved away from during the night, realised that the two lines ashore
it had set up to stop it being blown sideways / westwards by the easterly
wind, were now useless, so they started their engine, tossed their lines
overboard, hauled up their anchor chain and motored forwards to open water, and dropped their anchor about 100 metres away from the shore.
Then the rain started, absolute white
- out sheets of rain that flattened the
sea, for what seemed like half an hour,
MEMORIES OF THE SEA // A NIGHT TO REMEMBER... // 43
Mooring on the jetty
only in the Aegean does it rain like
that! The winds and the rain subsided some time after 10 am, so we called
Milta marina in Bodrum again, and asked them if they had any room today, as we didn’t want to spend another, possibly two, nights like the previous one.
I didn’t know how we were going to get enough sleep to enable us to cope with another night like that! At least
our anchor had held, throughout the entire episode!
Bodrum marina said they were full until at least the end of the month, so we
phoned Turgutreis marina, about 7 miles north of Bodrum – we were relieved to
hear that they were able to accommodate us. So – we started the engine again,
and Jeanette used the electric windlass
to haul up the 50 metres of chain we’d had out since midnight. She commented
that the decks were cleaner than she’d seen them for months, if not years – they’d had such a good power-wash!
So we came up to Turgutreis marina,
which is where we are now, and had a
very good night’s sleep last night. We will probably stay here another two
nights, before leaving Turkey and going
south to Kos, in order to formally enter Greece, prior to going up back north again, up to Leros.
Frolika and Trinity Star
MEMORIES OF THE SEA // A NIGHT TO REMEMBER... // 47
There is more of the bad weather
forecast for this afternoon. But we don’t care – we’re securely tied up
here in Turgutreis, keeping in touch
with friends by text messages and email. We hope you are all safe and secure, wherever you are!
MAY DAY
My husband bought a house in Hythe,
not having sailed before, then decided he’d better get a boat which he did, a sailing boat which he bought with his brother in law. There are plenty of
tales of the experiences in the lock. My brother in law was at the helm whilst entering the lock with my
husband was at the front of the boat.
With no warning, my brother in law put the boat into reverse and my husband fell off the front. This must happen so many times!
MEMORIES OF THE SEA // MAY DAY // 49
View from 34 Velsheda Court
In my earlier days, before the days
of so much access to mobile phones,
I sailed with three other friends from Suffolk round the coast to Brighton. I
hadn’t sailed much then and arrangements to board the boat were always chaotic because you had to make your way to wherever the boat had got to.
I made my way to Lavenham by train, changing at somewhere on route.
Approaching the station, there was an
announcement over the tannoy that Julia Greenhalf should go to the station master on arrival. It transpires,
plans had changed and I was being met by some unknown member of the crew rather than having to get a taxi.
The first day was beautiful, my idea of heaven - sun, warmth, calm seas. This was the life! I had a rude awakening
the next day, departing from Ramsgate, fog, rain, wind... We didn’t make much headway in force 5 and 6 so stopped in Dover whilst the tides changed. We set off again after lunch. I kept quiet (not usual for me) in order for the captain and more experienced crew to concentrate.
We went past Dungeness in a Force 9 with the light worsening ... there
were May Days coming across the radio. I have never been so scared from that
day to this. I couldn’t work out if we
capsized, how I would breathe until the boat righted itself. It didn’t occur to me that whilst I was hooked to the
boat, I may knock myself out and never surface again!
At about 8pm we saw search ships
combing the area and asking if we had seen any capsized boats. For the two
hours it took to sail this stretch with
the rescue boats in sight, I felt safer. We safely reached Eastbourne at 2am... such a long day, but safe.
MEMORIES OF THE SEA // MAY DAY // 53
Sunshine on the water
View of Southampton docks
THE EXHIBIT ION
The ‘Memories of the Sea’ exhibition was held in the Solent Dolphin room
at Hythe Marina between the 13th and
individual reacted differently, to
the artwork and the subject matter.
15th April. Firstly, special thanks
For a large proportion of the
it was a great weekend! Also, thank
see their stories printed in a book,
to everyone who came to the event,
you to those that contributed their
stories, wtihout this would not have been possible.
Great interest was shown by the
various residents and general members of the public that attended. The
most intriguing aspect was how each
Exhibition set up
residents it was really exciting to and to recognise areas, houses and boats in the photographs.
Whilst others appreciated the scale and effort of producing the hand
painted signage, many people respected the fact that they were not digitally produced.
MEMORIES OF THE SEA // THE EXHIBITION // 55
Installing signs
Poster on front door
Signs on the wall
Resident reading book
MEMORIES OF THE SEA // THE EXHIBITION // 59
Resident observing
Stacks of books
THE PASSAGE OF T I M E An essay that explores the concept of time within visual culture and design, in particular how the ways of the past are often resurrected in the present day.
The conflict between analogue and digital practice has inspired the majority of
my work so far this year, therefore it is paramount that I reflect upon how
this key discussion has informed and improved my practice. Furthermore, there is a significant connection
between this idea and the focus on hand painted signage and typography within my final major project. I intend to
explore the relationships between the past and present of graphic design,
specifically how appropriation conveys
our obsession with objects and aesthetic styles from the past. Subsequently, the theme of nostalgia will be paramount to my analysis of these subjects, as it
reflects our admiration and longing to capture those bygone moments of time. “The past, which is gone, can only ever be partially reconstructed within the ideological and discursive frameworks of the present” (Contemporary Art and
Memory) this demonstrates how the theory of ‘hyperreality’ can be applied to the expression of memory within art and design. Furthermore, this portrayal
of memory can often be dictated by the social and political values of modern
society, this leads to the formulation of ‘counter-histories’. An inaccurate or misinterpretation of the ways of the past in a contemporary context,
this relates to my discussion of the Hollywood myth. This text by Joan Gibbons explores the reassembling
of history in art and visual culture.
MEMORIES OF THE SEA // THE PASSAGE OF TIME // 61
The theory of ‘postmemory’ describes the way in which a simulation of the
past is created by secondary sources, which were not primary witnesses to
the specific time period. For example, “history and memory, which intertwine sometimes to the point of fusion and
possibly confusion” (Contemporary Art and Memory).
‘Postmemory’ is a form of social memory, in the sense that our
perceptions of historical events or
periods can be determined by the media’s representation, a prime example of
this is the TV series ‘Mad Men’. The simulation of what is presented on
screen leads us to believe that the 60s were the cultural birth of the creative industry with a heightened sense of
glamour. This therefore creates feelings of nostalgia amongst the audience, regardless of our association with
that era – unsentimental nostalgia.
Since 2006 ‘Mad Men’ has enjoyed great success, and many others have followed the trend of the ‘retro revival’. ‘Pan Am’ (2011) is a show that follows the iconic American airline from the same time period – again the depictions of their lifestyles are over-stylised and typically glossy. The common
paradigms within this breed of serial television are the presentations of nostalgia and wish-fulfilment; it is this form of media illusion that
informs the idea of ‘postmemory’. In order to create the illusion of the past as a simulation in the present,
there are multiple signs to consider.
For instance, the paradigms of fashion style and typographic detail help the
video game L.A. Noire (2011) to capture the essence and spirit of being a Los Angeles detective in the late 40s.
Moreover, the use of iconography from the film noir period reinforces the
historical context within the game.
Boardwalk Empire (2010-) is another
example of reassembling history within a TV programme; the simulation of
traditional typographic signage used on set is reminiscent of the work produced by ‘Sky High Murals’.
Using the knowledge I have gathered
from studying the reasons behind modern societies obsession with authenticity, I began to explore examples of vintage design, focusing on the origins of
packaging as this closely relates to
traditional signage. Both of which serve a similar purpose, to communicate the
value or identity of a brand or company. The way in which typography was applied to the packaging of a product was
considered the origin of branding;
it was initially solely used as a way of differentiating between products on a purely visual level.
Although this is still true today, there are now significantly more
details to consider. However, I am
more concerned with how the theories
of ‘postmemory’ and ‘hyperreality’ can be applied to the analysis of modern
day design in comparison with vintage
examples of design. There are numerous
contextual references to vintage design within modern ‘retro’ design, such as the decorative border, letterpress type styling and use of multiple
fonts. These are all techniques that have been appropriated from 19th
century playbills, an iconic example of decorative type from the past. This form of appropriation within
design, is very similar to the manner
in which media (like Mad Men) attempts to reassemble history through the simulation of aesthetics. This demonstrates ‘hyperreality’ in
practice within the world of art
and design, appropriation in this sense could also be seen as an
example of ‘postmemory’, by recreating a visual style of the past with
disregard to the primary witnesses of that era.
MEMORIES OF THE SEA // THE PASSAGE OF TIME // 63
In correlation with the preservation of time, on screen media is a major
contributor in capturing the essence of historical periods. The Hollywood film
industry is a prime example; the theory of ‘hyperreality’ demonstrates how the
concept of ‘fabricated’ history portrays an exaggeration of the actual reality
in order to appear more desirable. The
Hollywood myth was the birth of material culture, representations of the perfect and unattainable lifestyle within the movies appeal to the self-fulfilling prophecy of the individual.
As time progresses, there is still a
sense of grandeur and glamour attached to the Hollywood movies, a stylised
illusion of our own reality informed by our ‘postmemory’. Television has
also become obsessed with reassembling history recently, the series ‘Mad Men’ emphasises this idea. This
reconstruction of a bygone era is
controlled by the social and political
values of our contemporary society, thus forming a ‘counter-history’. We cannot
witness true replication of time because the way in which we reassemble history will always inevitably be influenced by our modern surroundings, contemporary
society and visual culture is impossible to ignore. Branding is synonymous with our daily lives now, it’s origins stem from the application of typography to vintage packaging. This indicates how
over the progression of time, design is
constantly evolving by appropriating and synthesising aesthetic styles.
In order to innovate for the future, we must first look to the past.
In loving memory
MEMORIES OF THE SEA // IN LOVING MEMORY // 65
Joan Bullock
1922 - 1986
SPECIAL THANKS TO ALL OF THE CONTRIBUTING RESIDENTS OF HY THE MARINA
‘MEMORIES OF THE SEA’ AN EXHIBITION BY GE ORGE LAVENDER