February2025No.24
WELCOMETOOURNEWSLETTER
WelcometotheWintereditionofournewsletter. Astheseasoncontinuesamidstrongwindsand coldweather,ourcommunityofphotographers continuestoshowcasetheirimagesandcreativity.
Thisissuefeaturesacollectionofarticlesabout ourmembers’activitiesandsuccesses.Thereis newsofthe-nowfull-Springresidentialweekend inYorkwhichwasagainsoldoutwithindaysofthe emailgoingout.Thisshowshowpopularthese weekendsare.
Ifyouwouldliketohavesomeofyourwork showcased,pleaseemailme,asthesearticles certainlymakethenewsletterveryspecial.
Ihopeyouhavebeenoutandaboutandmanaged tocapturetheuniqueaspectsofWinter,from wind-blownseascapestodeepsnoworrainy landscapes;theseallofferdifferentchallenges whichIhopeyouhaverisentoandareenjoying.
Forme…rollonSpring Kindregards
Carol
CarolPaesARPS
MIKE’SARCHITECTURALSHORTSNO.4
TheQueenElizabethHallComplex, DenysLasdun’sBrutalistMasterpiece
Thereisafilmshortlytobereleased“The Brutalist”whichis thebiopicofanimaginary HungarianarchitectandHolocaustsurvivor, LászlóTóth,(PossiblybasedonMarcelBreueror
ErnoGoldfinger)whocomestopostwarUnited Statesinpovertybutbegins,orratherrevives,his distinguishedcareerasanarchitect.
Seeingthismovieadvertisedbroughttomind DenysLasdun'sNationalTheatrecomplex. ComprisingtheQueenElizabethHall,National Theatre,PurcellRoomandHaywardGallery.Itis oneofLondon'sbest-knownandmostdivisive Brutaliststructures,alayeredconcretelandscape thatKingCharlesoncedescribedasbeinglike"a nuclearpowerstation".
DesignedbyDenysLasdun(HiggsandHill contractors)intheearly1960sandopenedin 1976,thetheatreisasmuchamonumental sculptureasitisabuilding.Lasdunwasoneofthe mostsuccessfulBritisharchitectsofthetwentieth century,designingeverythingfromtheziggurats oftheUniversityofEastAnglia(anotherplaceto
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visitandphotograph)tothecomplex,splayed formercouncilflatsofKeelingHouseinBethnal Green(asuperbexampleofamodernist residentialgrade2listedbuilding).
TheQueenElizabethComplexincorporatesthe kindofbolddiagonalorhorizontalshapesof whichhewassofondandwhichwereperfectto berenderedfromraw,unadornedconcreteina stylethatechoesthebasicgeometriclines employedby LeCorbusier andMarcelBreuer. Everythinghasbeenworkedthrough exhaustively,fromthekindofstoneand aggregateusedintheconcretetobestreproduce theboardmarksofthewood,throughtothe lighting—bothinsideandout—thatwouldbring thesespacesandsurfacestolife.
Initiallythebuildingwasnotmetwithuniversal praise.Manycriticssawitasareflectionofthe past,bothinstyle(duetothe1960soriginsofthe project),andinitssocialsymbolism.Completedat atimeofnationalandeconomicuncertainty,some criticsconsidereditan“anachronistictempleto eliteartisticpursuits”.Onthemore(im)practical
side,criticsalsonotedsomeconfusionabouthow toenterthebuildingandtheunwelcomingblank facadesfacingawayfromtheriver.(criticswillfind theoddestthingstocomplainabout)Butothers praisedthegrandyetintimatespaces,andthe sweepingviewsofthecity.
Opinionisstillheavilydividedabouttheconcept ofBrutalismbutloveitorhateit,itprovidesso manyphotographicopportunitieswhetheritbe texture,shadow,shapeandformortheoverall buildingsviewedfromadistanceandIhavespent manyhappyhourswanderingaroundthearea andcapturingallitsvariedaspectsinalldifferent weathersfromhighcontrastsunlightdisplaying thetexturestocloudyovercastdayswhichaddan auraofforebodingandmystery.Turnacornerand youcomeacrossmanyotherdelightful, abstractedforms,stairs,balustrades,overhead walkways.Factorintheoccasionalsuperb exhibitionsattheHaywardGallery,theRoof GardenandaratherniceCoffeeshopandit’s quiteeasytospendadaywanderingaroundthe area.Idohopeyou’llvisitwhennextontheSouth Bank.
QueenElizabethHall, SouthbankCentre, BelvedereRd,LondonSE18XX
MikeKitchingmanARPS
THESHADOW
IembarkedonmyMAPhotographyonlinecourse withFalmouthUniversityexactlytwoyearsago.I hadseenanadvertisementintheRPSJournal andthought:“thatlooksinteresting!”.LittledidI realisewhatwasaheadofme;achallenging(ina goodway),thoughtprovokingandcathartictwo yearjourney.Ihavelearnedalotaboutboth photographyandmyselfalongtheway.
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Istartedthecoursehavingbeenawardedthe distinctionofAssociatesixmonthspreviously.At thebeginningoftheMAcourse,wewereaskedto reflectonthenatureofourownphotographic practice,usingtheanalogyof“mirror”and “window”,inspiredbyJohnSzarkowski’s exhibition“MirrorsandWindows”attheMuseum ofModernArtinNewYorkin1978.Thecamera actsasbotharealmintoanotherphysicalplace andasareflectionoftheoperator’sthoughts.Is myphotographyawindowontheworldoutside myownenvironmentoramirror,providingan insightofmyfeelingsandmyownperspectives? Asanimagemaker,Iidentifywithbothbutmore sowiththelatter.
MyAssociatepanelconsistsofasetofcolourful flowerimagesandIbegantoreflectonthis further.Iwasasked“why”andspecifically“what” hadledmetotakethesetypesofphotographs.I begantothinkaboutthevariousfactors influencingmyphotography.
Ispentthefirstpartofmychildhoodgrowingupin Hollandalongsidemyyoungersister.Welivedin thebulbregionandIrememberasachildcycling toschoolandpassingrowuponrowofbrightly colouredflowersgrowninfields–stripsofred, yellow,purple,pink,stretchedoutasfarasthe eyecouldsee.Thisvisualsplendourhasstayed withmeandhasundoubtedlyinfluencedmy photography.
AsachildIwasfrequentlyunnoticed,livingin the shadowofmybeautiful,youngersister.“You’re notunattractive”myfatherusedtosay.“Butyou’ll neverbeasbeautifulasyoursister”.These
words,andmanyothersiblinganalogies,echoed throughoutmychildhood.Thefrequent comparisonshaveconsequentlyleftadeep impactonmypsycheandthephotographicworkI create.
Theseconceptswereexploredthroughoutthe variousmodulesonthecourse,culminatingina FinalMajorProject:“TheShadow”. The requirementsforthedoublemodulewereto produceaportfolioofwork,aStatementofIntent andhaveapublicoutcome,thedisseminationof worktoanaudience.
TheShadow:StatementofIntent
Thereisanareaofwastelandontheedgeofthe villagewhereIlive.FormerlypartoftheDerby Canal,itservedtotransportcoalfromnearby collieryvillagestothecity.Economicallyunviable, thecanalwasabandonedoverahundredyears ago,lefttosuccumbtotheravagesoftime.Little remainstodayofthecanalwharfandrailway terminus.Afootpathistheonlyvisibleremnantof thisoldinfrastructure,connectingtheedgeland withthecity.
Traditionallyawastelandareasymbolises desolation,neglectandabandonment;feelingsI oftenexperiencemyself.Recurringsibling comparisonsduringchildhoodresultedinfeeling unattractiveandunwanted.Iquietlyobservedthe adorationandadornmentofmysisterbymy parents;prettypinkbowsandribbonsembellished mysister’slonghairwhilstmineremainedplain andcroppedshort.Ithashadaprofoundeffecton myconfidenceandself-esteemwhichstill resonatestoday.
“TheShadow”isametaphorfortheongoing relationshipwithmysister.Throughaseriesof diptychsanddoublings(forafterall,arewenotcut
fromthesamecloth),theviewerisinvitedto observethecompellingcontrastbetweenbeauty anddecay,visibilityandinvisibilityandthenotion offindingsignificanceintheoverlookedor neglected.Theinterplayoflightandshadowin theimagesdeepensthesenseofdepthandtime, enhancingthenarrativeofvulnerabilityand strength,ultimatelyweavingtogetherthecyclesof pastandpresent.
TodayIamtheonewearingthepinkribbon, supportingmysisterasshestandsintheshadow ofbreastcancer.
HandmadeArtistBook:
Icreatedahandmadeartistbookcontaininga seriesofdiptychs,formingasuccinctvisual narrative.Togiveasubjectmorepresence,you mustaccentuatetheshadow.Bothhaveequal importance.Aprettypinkribbonontheoutsideof thebooksignifiesbothchildhoodmemoriesin additiontobeingasymbolofbreastcancer awareness.
Thecoursehasenabledmetoexploreand addressdeeppersonalissues.Mysisteris currentlyinremission.Webothlookforwardto thefutureandthenextchapterofourlives.
Website: https://samantharuth.portfoliobox.net
February2025No.24
UPDATEONYORKRESIDENTIAL WEEKEND11-14April2025
ThepopularityofourSpringandAutumn weekendsisasbuoyantaseverandthistimeour Springevent,asthoseofyouwhowerequick enoughoffthemarkareaware,isYork,withallits convolutedstreetsandbuildings,thewonderful Minster,theJorvikCentreandRailwayMuseum andifyou’reuptoitaboatridealongtheOuse. CarolinePreeceandNatCoalsonwillbetaking theirteamsaroundYorkitselfandLizzieShepherd willbeofftowardsthecoastortheYorkshire landscapedependingonweatherconditions.The applicationformsweresentouttoallmemberson 10Januaryandwithinadayworkshopswere almostfullandwehadtoclosethebooksaweek lateraswereachedthehotel’scapacityforour group.OurhotelforthistripistheFairfieldManor whichissetinitsownlandscapedgroundsand which,iftheweatheriskindtous,hasalovely areatorelaxoutsideandsipaG&Tortwo(orthe tippleofyourchoice,otherbeveragesare available)althoughI’msuremostofyouwillbeout capturingallthephotographicopportunitiesthat Yorkoffers.
Thereasontheseweekendsaresosuccessfulis largelyduetothepeoplewhoattendthem,weare abigextendedfamilyandforSallyandmeit's alwaysajoytomeetupwithyouallandto welcomenewmemberstoourmerrythrong so.....toallofyoucomingalongtoYorkwe're lookingforwardtoseeingyouallagainand catchingupwithallthenews.Toanyonejoiningus forthefirsttimewe'lldoourbesttomakeyoufeel athome.
NothingsetinstoneforourAutumndoyetbut possiblywe'llbeheadingfortheNorfolk/Suffolk area.We'llkeepyouposted.
MikeandSally
IMAGINATIONANDINTIMACY
Oneofthejoysofphotography,formeatanyrate, isusingitasanexcuseforgettingoutsideand openingmyeyestowhateverIcanfind.The notionofdiscoveringanimageissomehow ingrainedinme,soI’veneverfeltattractedtothe ideaofconstructingpre-conceivedimagesinthe studio,whetherwithlivemodelsordeadobjects.
TheproblemwithmynotionariseswhenIwander blanklyaround‘lookingforapicture’,taking memoryshotsthatareinstantlyforgotten.Things workbetterwhenIfeelanemotionalresponseto
thisfoundworldwheremystateofmindengages withtheimagesI’mmaking,sothattheyexpressa moodthroughform,pattern,colourortonesothat theybecomingsomethingmorethanblankrecord shots.
Myperennialhopeisthattheviewerfinds somethingintheimagetoo-evenifthat ‘something’isprobablyquitedifferentfrommy ownperceptions.Forme,thisopensupan unspokenconversationwiththeviewerwhereany responseisfine(exceptboredomordisinterest). Perhapsthisaspirationliesbehindthewidening appealof“intimatelandscapes”asopposedto grandvistasorbeautifulscenes.Hereweare exploringtheoutdoors,butconversingwithour innerselvesintheprocess.Andifthereisa degreeofambiguityaboutthenatureandscaleof thesubject-matterthenthislendsausefuldegree ofthought-provokingmysteryaswell;foritceases tobesolelyaninformativeimageofastriking subjectandbeginstobeintriguingasanimagefor image’ssake.
DavidWardexploredtheseideasindepthinhis booksLandscapeWithin(2004)andLandscape Beyond(2008);David’sphotographshavebeen aninspirationformany,andhistoursconveythat inperson.
Thisisespeciallysoifoneaspirestoachievinga technicallyperfectandaestheticallypleasing imagedirectfromthecamera;however,theroad toself-expressioncanleadusoninother directions.Evenifourimagesinthecameraare “found”andnotpre-conceived,wehave boundlessopportunitiestoinjectadditional creativitythroughourtechniquesofcaptureas wellasthroughpost-processing.Hereagain,Iam gladtohavelearntfromtheinnovativepractice andfineteachingofphotographerssuchasDoug Chinnery,MariaFalconer,PaulHillandGraham Cook.Foreachofthem,the‘why’and‘what’of image-makingandself-expressionismuchmore importantthanthe‘how’oftechnique(althoughit’s beenhelpfultolearnthe‘how’aswell,ofcourse).
Whetheroneexploresintentionalcamera movement(ICM)tocreateimpressionisticeffects, ormultipleexposureandcombined-image techniques,thereisanopen-endedpotentialfor emotionandmoreabstractexpressiontoemerge, limitedonlybythephotographer’sownskilland aestheticjudgement.Onceonthisroad,weleave
behindtherestrictionsembeddedinnotionsof documentary,reportageortopographic photographyasatruthfulrecord.Wemightargue thatallsuchphotographyisinevitablysubjective andselectiveinanycase,butfortheviewerthere remainstheexpectationof‘truthfulness’.In attemptingpurelycreativephotographywecannot andshouldnotsatisfythisexpectation,butthat maynotsatisfytheviewers.Willtheyregardour imagesasceasingtobe‘real’trustworthy photographswhilstalsofallingshortofbeing authenticallycreated(fictional)worksofart?
Thisquestiontroublesmealittle(butonlyalittle). Forme,photographyisawonderfulwayto expressmyselfmakingimageswhenIcan’tdraw fortoffee;butamIauthenticallycraftingthem? Oneofmyresponsesistomakeprintsas tangible,physicalartefacts.Ofcourse,thereis skillandcraftinprocessinganimagedigitallybut seeingitonscreensomehowrendersthatwork invisible;theskilledhandofcraftsmanship perhapsbecomesmoreevidentwhentheresultis awell-printedpictureonfinepaper.Thisseemsto offerthattactilesenseofitbeingarealartwork, escapingtheubiquityandapparentworthlessness ofthedigitalimage.Ormaybethisisalljustan expensiveself-indulgence?
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Atanyrateitmakesmevalueexhibitionswhere printscanbedisplayedandviewedwithtimeand thought.There,atleast,theproofoftheimageis intheshowing:doesitstandscrutinyandwasit worthmaking? KevinBonnett
wwwkbonnettimages.com
THETYNGFOUNDATIONREPORT
UndertheableChairmanshipofPaulMitchell FRPS,‘theTyng’continuesfromstrengthto strength.
Sadly,wehavetosaygoodbyetotwoloyal trusteeswhoarestandingdownandretiringfrom theFoundation.AndrewCrawfordARPS,theTyng TrusteeTreasurerandfinancialguruandMartin ChapmanARPS,theTyngCompanySecretary, bothforseparateandprivatereasons.
Wemustthankthembothforalltheirhardwork butIamsureMartinwouldnotmindifIsingleout AndrewCrawfordinparticularforthanksand praise.Andrewhasbeeninstrumentalin relaunchingthenewTyngFoundationandputting itonanevenkeel.Notonlythatbuthehasbeen spearheadingallthepaperworkconnectedwith theinstallationoftwonewTyngTrusteesand leavingatemplateforthefuture.
TwoVisualArtladieshavestooduptotheplate:
SallyKitchingmanLRPSwillreplaceAndrew CrawfordasTreasurerandSamanthaRuth,MA ARPSwillreplaceMartinChapmanasthenew CompanySecretary.Theytakeuptheirpositions withimmediateeffect.
Whileallthishasbeengoingon,ithas‘business asusualfor‘theTyng’withtheprocessof selectingandpurchasingnewprints(2025)forthe newTyngCollection.(youwillrememberthe originalcollectionisattheV&A).
Therehasbeenateamofthreeselectors involved:
RobertHerringshawARPS,TyngTrustee MikeKitchingmanARPS,fromtheVAG Committee
VivienHowseARPSrepresentingtheVAG membership.
Allofuswilltellyouitisnottheeasiesttaskbuta privilegedandmostenjoyableone.
Itishopedthatthreeoutstandingprintshavebeen secured.Thesewillbeformallyannouncedatthe YorkVAGResidentialwheretheywillbeonview tothatwideraudience.
TheprintswillthenbetakentoBristoltobe formallyhandedovertotheRPStoformpartof theirnewRPSPermanentCollection.
RobertHerringshawARPS TyngFoundationTrusteeandVAG/Tyng coordinator.
ROLLRIGHTVAGROUPMEETING
ThenextmeetingoftheRollrightVAGroup willtakeplaceonSaturday1stMarch, 10:00-16:00atLongComptonVillageHall, CV365JJ.
Itwillbeamembers’dayandthechargewill bejust£5.00.Ifyouplantoshowyour imagespleaseletusknow,specifyingPrints orDigital.Tea,coffeeandmaybeevencake willbeprovidedbutpleaserememberto bringyourownlunch.
Alsowestillurgentlyneedavolunteerto organisethesemeetings.Thesemeetings willceasewithoutaleaderandthatwillbe suchasshameastheyareenjoyedbyso many.Pleaseconsiderifyoucanhelp.
visualartrollright@rps.org
RPSSWVISUALARTEVENT-
Saturday,16th November2024
AnothersuccessfulSWVisualArteventwasheld inNovember2024with54photographersfrom throughouttheSouth-Westregionattending, manyofwhomtravelledaconsiderabledistance tojoinus.
HavingDavidTownshendasourspeakerproved tobeextremelypopular.Someofourparticipants werealreadyfamiliarwithhisworkandtheword ofmouthquicklyspread.Therewasareal excitementandbuzzintheair!Wecertainlygot whatwewerehopingfor.Daviddeliveredahighqualitypresentationandwewereallcaptivatedby hisexquisitework.
TheafternoonwasdedicatedtoaShow&Tell session,whereourparticipantssharedandtalked abouttheirwork.Therewasanamazingvariety ofvisualartwork-someshownasdigitaland someasprints.Someofthemareincludedhere:
February2025No.24
havewithinthegroup,weareinforarealtreat. ThedaywillstartwithAnneWhiteleyandher presentationentitled“Seasons:AyearinNature”.
Thiseventwillbededicatedtoparticipants showingtheirwork.Knowingthetalentthatwe
ThisiswhatAnnesays:-“Mypresentationwill takeaseasonalapproachandexplorethe aspectsofflora,faunaandintimatelandscape whichholdsuchendlessfascinationforme;often smallelementswhichrevealthemselvesand conveysomethingtoevokeafeeling.Iam searchingforbeautyandadoptarangeof photographicapproacheswhichhaveperhaps moreofaninterpretativeratherthanaliteral approach.Mypassionforphotographycomes fromadesiretobeoutofdoorspreferablyinthe quietplacesofthecountrysideandwoodland wheretherearefewpeople.Ienjoythecalmof solitudeandbeingimmersedinthesoundsand feelingsnaturecanevoke.Ihavedabbledwith videoandthecombinationofvideoandstillsto makeseveralveryshortnaturefilms.It'sbecause Ienjoythesoundsandmovementwhichcanhelp toevokethesenseofplace,seasonandsay somethingaboutthefloraandfauna”.
TicketsforthiseventwillbeavailableviaRPS websitebutcashpaymentsatthedoorwillalsobe possible.Cost£5.00.
MarijaLeesLRPS RPSSWVisualArtOrganiser
February2025No.24
ANALOGUEGROUP
I’d liketotaketheopportunitytointroduceor perhapsre-introduce,theAnalogueGrouptothe VisualArtsGroupasIthinkthereisadegreeof overlapbetweenthegroups.Ofcourse,thereare quiteafewofyouthatarealreadymembersofboth groups,butI’moftensurprisedtomeetVAG memberswhoareusingAnalogueorAlternative processeswhoeitheraren’tawarethatthe AnalogueGroupexistsorthatithasn’tfadedaway inthewayfilmissupposedtohave.
Infact,2025markstheTenthanniversaryofthe Groupbeingestablished,somuchlikethemedium weareverymuchstillinexistence!Overthelast fewyears,wehavegrownourmembership,and thisnowhoversaroundthe280markwhichIthink bothreflectstheincreasinguseoffilmaswellas theworkbythegrouptoprovideaninformativeand engaginghomeforthoseinterestedinAnalogue basedworkingpractices.
AsaGroupwehaveaninterestinworkdone primarilyusingAnaloguemethods,meaningit startedlifeinanAnaloguewayevenifitwas printedviaaninkjetforinstanceasahybrid process.Thevariousprocessesusedtocreate workinthedarkroomaswellasthoseinAlternative waysofworking(e.g.CyanotypeandWet-plate) arealsopartofourscope.
Events
TheGroupholdseventsseveraltimeseachyear, theseeventscoverarangeofactivitiesandare heldthroughoutthecountry.
Sometimesaneventmaybe‘themed’suchasa LargeFormattripouttophotographwaterfallsin SouthWales,othersarewiderrangingandcanbe aPhotowalkusinganyformofAnaloguecamera, orperhapsaPop-UpShow&Tellsessionwhere youcanbringsomeprintedworkandchataboutit overacoffeeorjustseeother’sworkfor inspiration.Lastyearwespentafabulousdayat thestudioofDaveShrimpton(BJPPortrait PhotographeroftheYear2023)toseehowhe workedinhisVictorianStudiowithwet-plateand antiquecameras.
WealsoholdanAnnualExhibitiontowhichall membersareinvitedtoenterworkinto,untilnow wehaveonlyhadthisatasinglelocationbutwe areworkingthisyeartofindsuitablevenuestobe abletoshowourmembers’workatmorelocations aroundthecountry,sokeepaneyeout(maybe Carolwillallowabriefnoteabouttheseinafuture VAGnewsletter?).
Thisisverywellsupported,andwehavearound 100worksonshow,thoughunfortunatelyyouwill havejustmissedthefirstshowingofthisyear’s exhibitionbythetimeyoureadthis.
Asyou’dexpect,eventsarelistedontheRPS Groups’site,mostarefree.Feelfreetopopalong tooneevenifyou’renotamemberoftheAnalogue Groupaswewelcomeallthosewithaninterest.
The Group'sRPSwebpage,isupdatedregularly andisagreatwaytofindoutmoreand incorporatesdetailsofour events
Alsowehaveour Facebook pages,theseareopen toanyone,notjustSocietymembers,butthereis worksharedfromallaroundtheworldplusit’sa greatplacetoaskquestionsandgetadviceand helpwithsomeofthemysteriesoftheAnalogue world.
Publications
Analogue magazineispublishedafewtimesa year,membersreceiveahigh-qualityprinted version,andwealsohaveithostedelectronically, andthisisavailabletoviewanddownloadon theIssuuwebsite.ThelatestissueofAnalogueis available here foryoutotakealookat.Each editionisthemedtoprovidealinkthroughthe articleswhicharewrittenprimarilybymembersbut notexclusivelyso.
Wealsoproduceaprintedcatalogueforthe Exhibitionthoughaftertheevent,asofcoursewe needtophotographalltheprintedworksasthey onlyexistinphysicalform.Againmembersreceive aprintedversionandit’salsohostedbyIssuuas well,youcanseelastyear’scatalogue here
IfyouarenewcomertoAnalogue,thenwehavea shortguide “Buyingafilmcamera”whichwehope mayaidyoursearchforreliableequipment.Itis availableforviewingonIssuu(here)andmaybe downloadedfromthereforviewingoffline.
Ifyou’dliketoknowanythingelseabouttheGroup, pleasereachouttomeasIhavejusttakenupthe reinsasChairoftheGroupandIcanbecontacted on analogue@rps.com You’dbeverywelcomeat anyofoureventsorevenbetteraddasubscription totheAnalogueGroupalongsideyourVAG membershipandgetinvolved,we’dlovetomeet youandseeyourwork!
PaulBullockLRPS Chair-AnalogueSpecialInterestGroup
February2025No.24
VISUALARTLONDON–NEXTMEETING
1st February2025
Thefirstmee�ngofthenewsub-groupwasheld atTheOldDioramaArtsCentreNW1andwasa greatsuccesswithover35membersa�ending. Therewasanopportunityforeveryonetochat withlike-mindedphotographersinthebreaksand thedaywasenjoyedbyall.
Thenextmee�ngon1st February2025isa Members’Daywhenwewillhaveapresenta�on onHaikubyMaryDavisARPSandapresenta�on ‘WasIBrainwashed’byDavidRu�erFRPS togetherwithsuccessfulDis�nc�onspanelsand ‘ShowandTell’.Tobook�cketsforthisevent, pleasegotothelinkbelow:
h�ps://events.rps.org/4LrdQ66/5a2NN28YZYE
Thefollowingmee�ngwillbeon24th May2025 withpresenta�onsbyVandaRalevskaandLinda WevillFRPS.
Ilookforwardtoseeingmanyofyouatour mee�ngs.
LindaWevillFRPS
VisualArtLondonOrganiser e-mail: lindawevill@gmail.com
COMMITTEEMEMBERS
ThefollowingmembersmakeupyourVAG committeefor2024/25:
Chair
MarkDeutschLRPS
Secretary&Newsletter CarolPaesARPS
Treasurer BarryBarkerFRPS
Membership ValGlennyARPS
PublicationsCoordinator WendyMeagherLRPS
ExhibitionsCoordinator TomLeeFRPS
SocialmediaCoordinator StevenGalvinARPS
Exhibitionsmember MartynPearse
WebEditor MichaelButterworthLRPS
CirclesCoordinator GillDishartARPS
Residentialweekends MikeKitchingmanARPS
CommitteeMembers PaulBullockLRPS
BobBracherARPS
Therearealsothreesub-grouporganisers andoneVisualArtGrouprepresentativefor theTyngCollection,heldcurrentlyattheV&A Museum.Theyare:
VisualArtNorth: (Vacancy)
VisualArtSouthwest: MarijaLeesLRPS
VisualArtLondon: LindaWevillFRPS
TyngCo-ordinator: RobertHerringshaw ARPS