Visual Art Magazine No. 155/2019/Issue 1

DATES FOR YOUR DIARY

Visual Art Group 2019 Members’ Print

Exhibition

Official Opening & Annual Luncheon

16 February 2019

12:00 - 15:00

Croydon Clocktower, Katherine Street, Croydon, United Kingdom, CR9 1ET

Awards ceremony and official opening of the Visual Art Group’s 2019 Annual Exhibition by the Chief Operating Officer of The Royal Photographic Society, Mike Taylor. This is followed by the group’s annual luncheon which is bookable with the form downloadable from the website. The exhibition will run in Croydon until 9 March 2018.

Event organiser: David Wood ARPS (wood.david.j@virgin.net)

See more at: https://tinyurl.com/ycocghxa

Rollright Visual Art Group

Winter Members’ Day

23 February 2019

10:00 - 16:00

Village Hall, High Street, Long Compton, Warks, United Kingdom, CV36 5JS

Another opportunity for you to show a selection of your work and offer it for general discussion in a friendly and relaxed atmosphere.

RPS/Non RPS Member £8.00, Ploughman’s Lunch £5.00

Event organiser: Andreas Klatt ARPS (rpsva@klatt.co.uk)

See more at: https://tinyurl.com/ybk9zkpk

Visual Art Group Spring Weekend

5 April 2019 - 8 April 2019

De Vere Beaumont Estate, Burfield Rd, Old Windsor, Windsor, United Kingdom, SL4 2JJ

Our next residential Spring Weekend will take us to Windsor – famous for its royal connections and a wealth of attractions: the Castle, the town, the Great Park, the River Thames, the racecourse and, not much further afield, Runnymede, Eton, Henley, Hampton Court and Heathrow Airport, to name but a few. Speakers will include Paul Colley ARPS, Derek Reay ARPS, Rhiannon Adam and Nathan Barry. Our base will be the De Vere Beaumont Estate, a welcoming and comfortable hotel in Old Windsor, within easy reach of Windsor itself. This event is bookable with the form downloadable from the website.

Event organiser: Andreas Klatt ARPS (visualart@rps.org)

See more at: https://tinyurl.com/ybakwc6x

Visual Art Group

2019 Members’ Print Exhibition

11 April – 22 April 2019

10:30 - 17:30

Landmark Arts Centre, Ferry Road, Teddington, United Kingdom, TW11 9NN

Event organiser: Robert Charnock (rjcharnock@hotmail.com)

SW Visual Art Group

A Day with Roger Ford FRPS EFIAP/g and Angela Ford ARPS EFIAP

14 April 2019

10:30 - 16:00

The Dolphin Hotel, Station Road, Bovey Tracey, United Kingdom, TQ13 9AL

Roger and Angela have been active in photography for over 40 years. Their photography has evolved with their styles and interests developing in different ways. Roger’s work demonstrates how he finds something compelling about creating an image which cannot be seen by the naked eye or retained in the mind. Apart from producing images in monochrome and colour, Angela also has a great fascination and empathy with infrared photography. The appeal of infrared is the mysterious and ethereal effect that this has on images of places and people. A selection of their images may be viewed on their respective websites: www.movementandmoment.com www.angelafordimages.co.uk

All are welcome at this event, but please book your place with Linda Wevill FRPS by e-mail.

Event organiser: Linda Wevill FRPS (linda.wevill@btinternet.com)

VAG Member £5, RPS Member £10, Non RPS Member £13

See more at: https://tinyurl.com/ydh97mpu

Continued on the inside back page.

VISUAL ART COMMITTEE

Andreas Klatt ARPS (Chairman & Editor) visualart@rps.org

David J Wood ARPS (Vice Chair & Programme Secretary) wood.david.j@virgin.net

Jane Chapman LRPS (Honorary Secretary) janie.chapman13@btinternet.com

Robert O Charnock (Treasurer & Exhibition Organiser) rjcharnock@hotmail.co.uk

Gill Dishart ARPS (Portfolios Secretary) gill@dishart.plus.com

Paul Mitchell FRPS (Co-ordinator of The Stephen H Tyng Foundation) paul@pmd-design.co.uk

Michael Butterworth LRPS (Group Web Editor) visualartweb@rps.org

Jay Charnock FRPS (Exhibition Organiser) jaypix@hotmail.co.uk

Eddie Morton ARPS (Exhibition Organiser) eddiemorton@gmail.com

Mark Deutsch (Membership Secretary) mrkdeutsch@aol.com

CO-OPTED

Wendy Meagher (Programme Co-ordinator} wmeagher@gmail.com

Andrew Leeming LRPS (Deputy Treasurer) andrewleeming@googlemail.com

John Cavana LRPS (Headline Event Organiser) cavana68@gmail.com

SUB-GROUP ORGANISERS

Rollright

Andreas Klatt ARPS rpsva@klatt.co.uk

South West

Linda Wevill FRPS linda.wevill@btinternet.com

If you are interested in having or organising a Visual Art Sub-Group in your area, please contact:

Andreas Klatt ARPS visualart@rps.org

CONTENTS

NO. 155 / 2019 / ISSUE 1

4. A View from the Chair

Andreas Klatt ARPS

4. Editor’s Comments

Ray Higginbottom ARPS

5. From the Thames Duncan Unsworth

10. Cultural Warriors

Drew Doggett

15. Distilled Life

Ray Higginbottom ARPS

Front Cover Image: Resting by Lori Vbra

19. My Photographic Journey

Susan Hendrick FRPS

24. From the moth wing diaries

Lori Vbra

GUEST EDITOR: Ray Higginbottom ARPS (ray.hig37@gmail.com)

DESIGNER: Paul Mitchell FRPS (paul@pmd-design.co.uk)

Visual Art is The Magazine of the RPS Visual Art Group and is provided as part of the annual subscription of the Group. © 2019 All rights reserved on behalf of the authors. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the written permission of the copyright holder. Requests for such permission must be addressed to the Editor. The Royal Photographic Society, RPS Visual Art Group and the Editor accept no liability for any misuse or breach of copyright by a contributor. The views expressed in this magazine do not necessarily reflect the policies of the Royal Photographic Society or of the Visual Art Group.

Printed by Henry Ling Ltd, The Dorset Press, Dorchester. DT1 1HD

A View from the Chair

ANDREAS KLATT ARPS

This edition of Visual Art completes the first full publishing cycle of our magazine under its reorganised stewardship: three permanent guest editors (Nicki Gwynn-Jones FRPS, Linda Wevill FRPS and Ray Higginbottom ARPS) taking turns in six-month steps, an annual monograph for one of the troika who looks in need of something to do, and a designer (Paul Mitchell FRPS) who knows how to shape the matter into a paradigm of what the Visual Art Group stands for. This set-up is to ensure that the rotating editors break into no more than a gentle spin (with apologies to the pagesmith for

whom there is no relief) whilst opening the mind to a maximum of cohesive variety and creativity.

I don’t know about you, but I for one am delighted with the results, especially when we keep in mind that the magazine - like everything this group offers to you - is the work of volunteers. It is quite evidently a labour of love.

In essence the magazine presents itself as a photographic publication, at the cost of more detailed reporting of day-to-day affairs. Step up our Honorary Secretary, Janie Chapman LRPS, who has started to e-mail a quarterly newsletter - informative and useful to all those of us who are

Editor’s Comments

RAY HIGGINBOTTOM

ARPS

Although a long standing member of the RPS, I am a fairly new member to the Visual Art group and so meeting

Andreas Klatt at his outstanding Rollright Visual Art group meetings has been a real pleasure. Talking to Andreas about photography and art in general, we found we had much in common – more about the why and less about the how. So when he approached me to be a guest editor, although a little apprehensive, I was at the same time excited with the challenge to produce an issue that spanned the wide spectrum of approach and style and met the diversity that is visual art today. I am often asked where I get my inspiration from and I can only say that it’s by looking – looking at other photographers’ and artists’ work, visiting galleries and museums, reading books and magazines covering a variety of subjects like architecture, design and graphic art. So for this issue, I’ve tried to showcase the diverse talents of four fabulous photographers that challenge

my perspectives and inspire me to look further than the image itself.

I first came across Lori Vrba via the dreamlike and evocative images in her book ‘From the moth wing diaries’. Lori describes the book as a ‘visual diary’, where we can glimpse issues of memory, of the legacies that a family leave and how we react to them. They are thought provoking and ethereally beautiful. Based in America, Drew Doggett has travelled extensively to highlight the plight of many unfamiliar native peoples around the globe or as Drew has stated “at the core of my practice is the firm belief in the importance of documenting the incredible people and cultures in our world, especially those at risk of slipping away”. Drew’s stunning black and white photographs capture both the beauty and the spirit of these people. Drew has won many photographic awards around the world and it is a privilege to share his work with you.

Coming from a fellow member of London Independent Photography, Duncan

disinclined to go hunting for news. I am sure she, too, would like to hear from you. Talking about things on offer. If you have been dithering, it is worth pointing out that our next residential weekend - Windsor in April - has just a few places left. Our most recent outing in October took us to the Jurassic Coast, in dramatically mixed weather and with equally diverse and inspirational speakers, witness the blogs on our website. But if you miss out this time, there is always the thought of Liverpool in autumn. Go for it!

Andreas

Unsworth’s project ‘From the Thames’ has always had resonance with me. I love the idea of images that record the visual decay of found objects. Each image beautifully displays the reaction of air, water and the fabric of life.

I became aware of Sue Hendrick’s work when browsing through some of the RPS Associate panels. I was immediately struck by the intense colour and rhythm in the composition of her still life images. By experimenting with various approaches and techniques, Sue continues to challenge herself to produce new and innovative work. I hope you enjoy this snapshot of Sue’s photographic life.

As for myself, I was not sure what images to share with you. I decided to show a selection that was indicative of the continuing journey that I am taking in looking at the wider aspects of the still life genre. Read, look and enjoy. Ray

From the Thames

DUNCAN UNSWORTH

This project was spawned whilst walking the Thames Path. Passing Runnymede, Hampton Court and many other places I became very aware of how it was to walk through history as much as geography. This river has been at the centre of so much of the nation’s history. I began to wonder about all the minor events the river must also have witnessed, perhaps forgotten by all bar the river

itself. Frustratingly, the black and white photographs I took at the time didn’t really convey this sense of mystery, so I started looking for another approach. Consequently a workshop with Paul Kenny, as he was beginning to employ digital techniques and flat-bed scanners, provided the modus operandi to express the thoughts I wanted.

Armed with plastic bags, gloves and bottles I started ‘mud-larking’ on the beaches exposed at low tide along the river in London, collecting bits of debris discarded by mankind as well as samples of water from the river. Selections of the objects were then used to make still-life assemblages on sheets of glass (varying in size between 5 x 4 and 10 x 8 inches). Using the water from the same beach as the objects they were then doused and left to dry in a repeated procedure until the required patina was achieved. The repeated wetting is rather analogous to the cycle of tides and although there is an element of serendipity in how the water dries, with experience I got to learn how it would turn orange with rust from objects or leave ‘tide marks’ of salt crystals, silt or even occasionally organic matter (Greenwich Genesis, bottom right, was very noxious whilst being made!). Using droppers and small brushes to paint with the water the whole process could take over a week for each image. The glass with the items on top was then transferred to a flat-bed scanner, a delicate operation which resulted in a few disasters and having to start again. Flat-bed scanners have a very penetrative light and perspective which is good at bringing out details overlooked by the naked eye. The resulting large files were then manipulated in photoshop much the same as any photograph and printed in sizes up to 50”x 40”.

With the patina of the surrounding water I feel the objects are emerging from the water as they do each tide. Little mysteries being revealed, or not.

My love of photography began by watching the emergence of a print in a tray of developer whilst at university. Despite my degree being in geography, on leaving university I joined the BBC as a cameraman where I worked for 35 years with credits on many iconic sitcoms such as ‘One Foot in the Grave’. As well as being recognised with a Royal Television Award for work on the live Eastenders episodes. Now working freelance I also tutor at the National Film and Television School.

Still photography remains a passion. I frequently exhibit with London Independent Photography and Thirteen, a collection of London based photographers. Some of my photographs could be considered documentary but I also use multiple exposures, a flat-bed scanner or even material from the internet to create images.

www.duncanunsworth.com

Duncan Unsworth

My ethos is to make the images that interest me and that I find visually attractive and not be constrained by any categories.

Cultural Warriors:

The Rendille & Samburu People of Kenya

DREW DOGGETT

I’ve always been fascinated by remote communities who have stayed true to their ancient cultural traditions while the rest of the world rapidly transforms into a single homogeneous culture. This is why Africa has been one of my consistent focuses. Within the many unique cultures embedded within the continent’s remote territories, there is a persistent and unwavering sense of self and pride in culture that I have yet to see anywhere else in the world.

During my travels throughout Africa I have found that the welcoming people and colorful traditions are in stark contrast to much of the landscape itself. This was especially true during my most recent trip through the Northern Frontier region of Kenya where, in 2017,

I travelled to document the Rendille and Samburu tribes. Beyond the traditions I encountered, I became fascinated with the salt flats and desert as a backdrop because as dry and void of life as the scorched Earth was, the people who live within this land are the exact opposite: full of life and energy. It was under the inescapable sun that the Rendille and Samburu people proudly displayed their heritage and eagerly shared their ancient ornamentation practices with me.

I was overwhelmed by the signs of shared humanity everywhere I looked; from mothers carrying their children in bright woven wraps as close to their bodies as physically possible to young women and men wrapped in swaths of bright red fabric and draped elegantly in beaded confections worn to perfection.

I marvelled at how daily duties were done while wearing this jewellery, from taking cattle out to search for food to digging for water in the beds of dry rivers. While I knew documentation of traditional ornamentation practices would be a part of my work, I was still in awe of how elaborate the jewellery was and how meaningful, too. Beads, for example, went beyond aesthetics as each colour and their order on a piece of jewellery signified a different aspect of the wearer. For women, this meant indicating how many kids they had or whether they were girls or boys, and for men it showed others if they had yet been initiated into warriorhood, the ultimate rite of passage.

The fiercest proponents of culture were the young women and men. They felt

FEATURED PHOTOGRAPHER

a huge responsibility to represent their people, and I wanted these photographs to present the portrayal they deserved. I also wanted my documentation to show others the strength of these tribes as Africa is made up of communities that are both resilient and beautiful. This equal balance of the two is a theme that runs through my series Desert Song: Compositions of Kenya and Warrior Studies: Rendille & Samburu, presented here.

Black

While I actively try to avoid references to a specific era, timing is an important element of life in Africa. The people’s calendar and sense of time is relative to what Earth delivers. The Rendille & Samburu intimately know the land and exist on Mother Nature’s schedule, with

their world specifically revolving around when the rainy season is as water is the scarcest yet most necessary resource in this dusty, dry region. The classic balance of black and white felt like the best choice for documenting a culture and people whose existence appears out of our Western idea of time.

I look at the image “A Young Goddess, Mindisayo” and I see a young woman who is a fearless ambassador of her people and her culture. In “The Sun’s Embrace” I see another young woman, Adato, enjoying the hot, scorched Earth and sun in a way only a people who have made a pact with the land can.

In Warrior Studies, my portraits of the Samburu & Rendille warriors, I see young men who have perfected the art of selfcare and physical wellbeing in a way that seems unattainable without the use of modern amenities. This rite of passage into warriorhood goes hand in hand with their physical prowess, and I have yet to see men more knowledgeable about the

and white has been my choice of palette because of its timelessness.

FEATURED PHOTOGRAPHER

land beneath their feet than this. These images are meant to be viewed holistically and individually. Together they tell a story of a people, while each image relays one strand of the fabric of life there.

Learning from other cultures has been a defining experience for me as an artist and as a human. We, as people, have so much in common with our neighbours yet that concept can be hard to grasp especially when so many, like the Rendille and Samburu, live hidden away in a pocket of the world most will never visit. At the end of the day we all have many of the same priorities, so I have created my images as a demonstration of our global humanity. I strongly feel that the subjects captured within these photos will help, if only for a second, allow us to appreciate and understand shared human interests, despite geographical differences.

Drew Doggett www.drewdoggett.com

Distilled Life

RAY HIGGINBOTTOM ARPS

With a lifelong love of art and design, I have always been attracted to still life imagery and over the last few years I’ve been developing my personal approach to the genre. Ever since the inception of photography itself, still life photography has been in vogue. Still life as an art form takes a great deal of learning and experience and I’ve needed to master the skill of carefully selecting objects, mood, lighting and composition. Because I can directly influence the image creation process, my images have begun to reflect my creativity and style and have opened up the endless possibilities of this genre.

A still life, also known by its French title, nature morte, usually consists of an arrangement of inanimate objects, such as fruit, flowers and household items. Derived from the Dutch word stilleven, it came to prominence in the 16th century. I visited a small exhibition of Dutch floral paintings in London a few years ago, and I was greatly inspired by their vanitas paintings or memento mori, a genre that comments on the fleeting nature of life. For a long time I have collected images from magazines, ‘found’ objects and bookmarked photographers who have caught my eye. These have formed a great treasure trove of ideas which I dive into in search of inspiration.

Some of the photographers who have been influential in my development in still life are Simon Brown, whom I first came across at an exhibition that he had at the Romanian Cultural Institute. His images capture an idiosyncratic collection of objects that perfectly reflect his personal take on still life. John Blakemore has also had a profound impact on my work. I have seen a few of his exhibitions, listened to him talk about his works and have several of his books in my collection at home. Writing in John’s book Photographs 19552010, Jane Fletcher comments that each photograph was an interpretation, a challenge involving choice of lens, lighting, viewpoint processing and

FEATURED PHOTOGRAPHER

print... the images that depict his studio, his work-table, the accumulation of objects and artefacts, the ongoing process of making photographs ‘reveal the activities of construction and collection that are a necessary part of making still life but are usually invisible in the finished works.’

At the beginning of 2018, I had my first solo exhibition at the Cliveden, the National Trust property near Taplow. Called ‘National Treasures’, where I exhibited a series of contemporary images, based round ‘found’ objects collected at National Trust properties. Not strictly still life but an attempt to try something different. Other photographers who are challenging the accepted view of this genre that you might like to investigate are Paulette Tavormina, Mat Collishaw, Laura Litinsky, Ori Gersht and Sharon Core.

I continue to explore new ways to produce images that stretch my photographic skills, that satisfy my creative urges and to seek out other practitioners, be they artists, sculptors or craftspeople. I hope my images will inspire you to explore along with me.

FEATURED PHOTOGRAPHER

Ray Higginbottom

My Photographic Journey

SUSAN HENDRICK FRPS

Sue has always had an interest in art and photography, especially inspired by the beautiful abstract flower paintings by Georgia O’Keeffe, but it was on her introduction to The Royal Photographic Society in 2010 that she began to take her photography more seriously. Combining her love of still life and macro photography, she sought to develop a personal style, discovering the excitement in making images from various objects, by combining their shapes, colours and textures.

How did you develop your personal style?

My work space is a small table in our conservatory which has plenty of light. It was here that I developed my macro and still life compositional skills, also experimenting in trying to get the light just right. I managed this with the aid of black and white cards, the use of the conservatory blinds, a mirror and a reflector. The vagaries of our English weather meant there were times when I would just sit in my chair, drinking copious amounts of coffee, waiting for the clouds to pass. It’s just part of the learning process.

FEATURED PHOTOGRAPHER

In 2013, you gained your ARPS. How did you approach the challenge of producing a cohesive panel of images?

Moving away from traditional flower photography, I wanted to create a panel of images that capture the hidden beauty that lies beneath the surface of a flower on its journey to decay. To record through the panel the subtle changes in colour and textures as the flowers dried out. I even experimented by placing the flowers in the microwave for several seconds (trying to avoid exploding flowers!), which enabled me to manipulate and twist them to fit my compositions. Using a tripod and extension tubes, my camera became my microscope into another world of shapes and forms.

You followed up your ARPS by gaining your Fellowship in 2015. How did you meet the challenge of creating a larger panel of work which satisfied the RPS requirements that “the photography produced should fulfil the creative vision of the photographer in expressing and sharing perceptions or emotions”. Having lived by the coast for a number of years, I was inspired to look at ways of conveying the ever changing interaction of sea and land in a creative way. The West Country provided plenty of opportunities for me to visit local harbours and fish markets and it was there that I was drawn to the colours and textures of the fish. I felt that some close-up areas of their bodies might prove interesting, but I wanted to explore further options. Using extension tubes and natural light, viewing the surface of a fish gave in parts an illusion of their environment, the sea, cliffs and the sea bed.

The panel developed over a period of two years and at times it was quite challenging trying to create the illusion of the coastal environment.

A successful fellowship, Where now? Have you any ideas or plans to develop your photography in other areas?

After a challenging two years to gain my fellowship I just went out with the camera with nothing in mind for quite a while. I did think of taking up the challenge of Photoshop but decided to give it a miss.

I have recently started to experiment with double exposure in camera. Not easy as you have to think about how the light, the colour and the shadows work together to form the image.

After visiting a Cornish cove with its colourful shale cliffs I decided to gather some of the shale that had fallen onto the beach and take it back home.

As the surface had dried out I used an old pastry brush dipped in water to bring the bright yellows, blues and brown colours back out again. This gave me the idea to experiment and to use the shale as a background.

I placed the shale onto a piece of card which I used as a turntable. This combined with found objects that I have collected over the years, shells, seaweed, driftwood and even skulls to say the least.

I have also used flowers from the garden, which I feel compliments the colours in the shale.

Where my photography takes me next does not really matter, I am just enjoying the journey.

Susan Hendrick www.susanhendrick.co.uk

From the moth wing diaries

LORI VRBA

I grew up in a little house on a dead-end dirt road with no street sign, buried deep in the tall pines of Southeast Texas. I was a scrappy, out-the-door little girl with wild, uncombed hair, entertaining myself most days by stick-drawing in the dirt or playing house in the woods. I spent more time alone than not and don’t remember wishing for company.

© Keith Carter

Mom had a chest of drawers in the front hall. On the occasions I found myself sick and tired of the oppressive heat and humidity, I would plop down on the cool linoleum floor and pull out the bottom drawer on the left side and stay there for a long, long time. This drawer is where she kept the photographs. There were decades worth of family history in that drawer, but I knew none of it. My parents left behind hard lives. They never talked about it, and I didn’t grow up knowing extended family. So the photographs were just photographs: intriguing, anonymous faces, mostly in black and white, whispering stories from a piece of time that mattered to someone.

FEATURED PHOTOGRAPHER

Someone pressed the shutter. Someone made choices about light and composition. Someone had a story worth telling. I sat alone, mesmerized, with the pictures piled up all around me on the floor, in what I now know to be the very beginning of my passionate love affair with photography. My life experiences have brought me to this place where I find myself overwhelmed with the drive to make photographs about who I am, what I feel inside, what I believe to be sacred and enduring. I am inspired by moments that hold contradictions… like a big lightning storm that is really uncomfortable and really beautiful at exactly the same time. Such duality is true for the very

best things in life. Loving someone is uncomfortable and beautiful. Having children is uncomfortable and beautiful. Being an artist is uncomfortable and beautiful. I kept a journal for most of my youth, and this work is very much the same. It is a visual diary of my grown up, conflicted, complicated, rich, womanly, Mother Nature-loving life. And maybe someday if my children’s children find the drawer full of my photographs… they will spread them out and sit crisscross applesauce in the middle of it all and they will know me… as if I were right there with them.

Lori Vrba

www.lorivrba.com

DATES FOR YOUR DIARY (Continued)

Rollright Visual Art Group

A day with Robert Harvey BA CEnv CSci MCIWEM ARPS EFIAP

1 June 2019

10:00 - 16:00

Village Hall, High Street, Long Compton, Warks, United Kingdom, CV36 5JS

Another day not to be missed: The Art of Landscape Photography. As a scientist, Robert knows how to combine painstaking preparation, deep knowledge and a light touch in his presentations to fascinating effect.

RPS/Non RPS Member £13.00, Ploughman’s Lunch £5.00

Event organiser: Andreas Klatt ARPS (rpsva@klatt.co.uk)

Visual Art Group

Autumn Weekend

27 September 2019 - 30 September 2019

Mercure Liverpool Atlantic Tower Hotel, Chapel Street, Liverpool, United Kingdom, L3 9AG

This autumn our residential weekend is set for Liverpool. Speakers so far will include Nat Coalson ARPS, Carol Emmas and Michael Pritchard FRPS. Our

base will be the Atlantic Tower Hotel, opposite the Royal Liver Building and overlooking the historic waterfront. The city is a hot destination, and we’ll aim to do it justice. This event will become bookable in spring.

Event organiser: Andreas Klatt ARPS (visualart@rps.org)

Visual Art Group

2019 Members’ Print Exhibition

6 December – 21 December 2019

10:30 - 17:30

The Point, South Parade, Doncaster, United Kingdom, DN1 2DR

As part of our attempts to generate a higher public profile for our group, this display of the full Members’ Exhibition will visit a northern venue new to the Visual Art Group.

Event organiser: Janie Chapman LRPS (janie.chapman13@btinternet.com)

Future events

Further regular meetings of the Rollright Visual Art Group have been set for 31 August 2019, 2 November 2019, 22 February 2020, 16 May 2020 and 22 August 2020.

Visual Art Group Notice of AGM

The Annual General Meeting of the RPS Visual Art Group will be held at 21:00 on Friday 5 April 2019 at the De Vere Beaumont Estate, Burfield Road, Old Windsor, United Kingdom, SL4 2JJ. Relevant papers will be filed on the microsite in due course.

POSTAL AND EMAIL PORTFOLIOS

Get even better value from your membership of the Visual Art Group: join a circle. Email circles are free to join, while print circles will cost you no more than postage. Meet new people keen to share their experience, to ask questions and to comment on your photographs. Get a different angle on your work from people who are neither fellow club members, nor your family! Members range from new recruits to very experienced photographers, from people who just want to enjoy their photography with new friends, to people working towards distinctions. There are print and email circles and we’d welcome a few more members. Join a circle.

To join or ask for more information, just email Gill Dishart ARPS (Gill@dishart.plus.com)

http://rps.org/special-interest-groups/visual-art