Visual Art Group Magazine NO. 161 / 2022 / ISSUE 2

COMMITTEE

John Cavana ARPS (Chairman) visualart@rps.org

Carol Paes ARPS (Secretary & Newsletter Editor) visualartsec@rps.org

Barry Barker FRPS (Treasurer) visualarttreasurer@rps.org

Mark Deutsch LRPS (Membership Secretary) visualartmembership@rps.org

Wendy Meagher LRPS (Exhibitions Lead & Magazine Co-ordinator) wmeagher@gmail.com

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

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

Michael Kitchingman LRPS (Residential Weekends Co-ordinator) mike.kitch@outlook.com

Martyn Pearse (Exhibitions Member) martynpearse@gmail.com

Bob Bracher ARPS (Exhibitions Member) rpbracher@yahoo.co.uk

Claire Carroll (Exhibitions Member) claire@clairecarrollphotography.com

SUB-GROUP ORGANISERS

Rollright

Barry Barker FRPS visualartrollright@rps.org

Northern Mary Crowther ARPS visualartnorth@rps.org

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

John Cavana ARPS visualart@rps.org

VISUAL ART

Front Cover Image: by Sarah Jarrett

Inside Front Cover Image: by John Bermingham

4. A View from the Chair

John Cavana ARPS

4. Editor’s Comments

Ray Higginbottom ARPS

5. Shadows that lie beneath Fran Forman

10. All that can be John Bermingham

15. Viewing the world through an odd-shaped glass

Sarah Jarrett

20. Waking to Antarctica

Paul Caponigro

26. Beyond the lens

Anthony Lamb

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. © 2022 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 Bishops Printers Ltd., Portsmouth Po6

A View from the Chair

John caVana aRPS

2022 has been a year of robust normality for the Visual Art Group. Always conscious of the need to provide group members with value for money, we have continued to offer an interesting and varied programme of events.

We had two residential weekends, Brighton in May and Gloucester in october. organised by Mike and Sally Kitchingman, both were fully subscribed and the programmes of events were greatly enjoyed by the attendees. The next one is planned for Newcastle upon Tyne in April so look out for the booking form early in 2023.

Four Rollright subgroup meetings were held during the year and Visual Art

North, organised by Mary Crowther ARPS, has been formed and is activemore details are to be found on the RPS website. The South-West subgroup is planning to get up and running again. Subgroups are wonderful environments in which to meet other members, share ideas and learn new techniques. Should anyone wish to talk about starting a subgroup in their area please contact me.

The 2021/22 print exhibition, featuring 145 square pictures, will finish its run at the Soldiers of oxfordshire Museum, Woodstock, in February. For 2023, we will be exhibiting 88 prints - thank you to all who contributed. Venues for the next exhibitions will be advertised in the new year.

Editor’s Comments

Ray higginBoTToM aRPS

It’s been a long frustrating journey to reach this point in editing the latest edition of the Visual Art Magazine. I’m so much aware of the volatile, violent and climatic events that surround our everyday lives and the dramatic images in newspapers and on our TV screens that we cannot escape from. However, I continue to be inspired and uplifted by the imagery that I see every day and I hope this issue will do the same for you.

I first discovered the work of Fran Forman through my love of Edward Hopper. Her imagery evokes all the feelings I get from looking at Hopper’s paintings. As Fran says, she is aware of the ‘sense of alienation, of expectations and ambiguous relationships, a disquiet within each domestic scene’.

John Bermingham’s dark and disturbing visions of the future came into my life during Covid, when a photographer was unable to do a presentation at my camera club and recommended John. He discussed and showed the work from his Associateship of The Irish Photographic Federation. His ‘images frequently come from a place of trauma and despair’ and are a very powerful statement that will make you stop and think.

Sarah Jarrett calls herself a visual storyteller. Her work is a mixture of photography, painting and collage, a bright and colourful world of the ‘surreal, strange and bizarre’. She says the subject of our ‘relationship with nature and the natural world’, especially flowers and plants, remains an intrinsic part of her practice.

Sometimes, people have expressed some confusion about what visual art really is in the context of RPS photography. We do have a definition, which is shown on the RPS website and is worth repeating here: Visual art photography can be defined as showing evidence of a personal vision or style which should convey a sense of design, emotion, mood or some meaning which encourages the viewer to look beyond the subject.

Sit back, enjoy the Magazine, and I wish you all a very happy festive season and a rewarding New Year.

With best wishes

John

Paul Caponigro’s love affair with the Antarctica is a constant in his life. An internationally collected visual artist, published author and poet, his images convey the beauty and fragility of one of the most hostile and remote places on Earth. He says: ‘You go as a tourist, and return as an ambassador.’

Partly based in Abu dhabi, Anthony Lamb creates stark and minimalist images of the remote wilderness and the solitary nature of the desert. He states that the digital darkroom allows him to satisfy his artistic vision by subtle adjustments to colour and light. His photographs convey a sense of calmness, a simplicity within the frame, that provides us with a glimpse of his love for wild and uninhabited places.

Ray

Shadows that lie beneath

fRan foRMan

As a former therapist, I am acutely aware of the shadows that lie beneath the illusory sunny narrative of American life and the promise of ‘domestic tranquility’. There is a sense of alienation, of expectations and ambiguous relationships, a disquiet within each domestic scene. My constructed photo images bring light to the shadows and expand on the noir tradition that exposes this fragility, longing, and missed connections. Each image I create is immediately personal, and their dual realities offer an ‘escape hatch’ in the way of a portal or a slash of light. I combine and manipulate, paint and alter, fuse photographs with painting, reality with fiction – whatever it takes to tell the story. Each image is carefully constructed digitally over many weeks, compositing and assembling models (mostly non-professional), costumes, figures, objects, and settings,

as if creating a stage set. Shadows and light, often digitally constructed, become major characters.

I have long been drawn to and inspired by artists and art forms that evoke solitude, mystery, or self-reflection through colour, chiaroscuro, and geometry. My image-making is heavily indebted to: the geometry, patterns and abstractions of the mid-century American painter Edward Hopper, whose solitary figures seem absorbed in their interior lives, and whose work I often re-imagine; the 17th-century Master painters and later painters such as Jacub Schikaneder who used light and shadow to evoke emotion; the eerie staged film-like constructions of Gregory Crewdson; and the foreboding sparseness, slashes of light, alienated protagonists, and stylization of contemporary noir cinematography.

FEATURED PHOTOGRAPHER

FEATURED PHOTOGRAPHER

All that can be

John BeRMinghaM

My creative journey began just as I was turning 7. I grew up in a small village in County Limerick called Murroe. In the weeks before my birthday, I spotted a camera on the counter of our local shop. It was red and had ‘Cool Pix’ written on the front; it had a built-in flash and came with a 24-exposure film and 2 AA batteries. I was due to make my communion two days before my 7th birthday and figured between the two I’d surely have the twenty four pounds to acquire my very first camera. There are two photographs from that first roll that I still think of today, one – a photo of my sister, 3 years old at the time, because

it still sits on the mantlepiece in my parents’ house today; and the other, ‘man playing guitar’ - latent only in my mind at this point. ‘Man playing guitar’ was important to me because as I looked through the viewfinder of my Cool Pix at guitar man I realised that if I moved him to the right of the frame it looked ‘like a movie’, thus being my first uneducated conscious compositional choice. This shifting of the frame also did something else: it allowed me to capture the people in the opposite garden (guitar man was sitting on a wall between the two) who sat listening to him, my first moment of context.

Context is something that I consider across all the things I make: compositional context, conceptual context, environmental, political, philosophical. It is also something that tends to dictate people’s reactions to the work. I recall sitting in the Visual Centre at the George Bernard Shaw Theatre in Carlow, in September 2019, as my series of images ‘Think About The Future’ was being displayed, anonymously, on stage to be judged for the Associateship of The Irish Photographic Federation. A couple sitting behind me were discussing the images as they were revealed and found each one more horrible than the last - ‘this is terrible, too much empty space in that one, oh my God, a baby!’. Afterwards, at the break, the judges

had my panel put back up on stage for people to come and look at more closely. The panel, presented with a statement, had been successful and, on viewing it as a whole, that same horrified couple came up to me to say how much they liked it.

I have struggled with relating to the world since I came into it and art has always been my conduit of comfort. Without the musicians, artists, film-makers, and

poets that I discovered at a young age I would have been stuck at 13, 14 looking at the world thinking, ‘well, this is some kind of puzzle I’m just not the right shape for’. Creating has never been a hobby, or now just a job, for me. These things mean everything to me. I have always found a way to create: discovering a strange quirk of my dad’s hifi where both tape decks would play simultaneously led me to start recording my keyboard and layering tracks, and connecting a second stereo that would record my mixes, using my granddad’s camcorder to make rudimentary stop-motion stories with my toys, and when we got our first PC in the house, discovering the unlimited creative possibilities that all these ones and zeros provide.

On assessing the panel, the very first words from the judges were, ‘Well, this is a very depressing panel...’ This, it seems, is my wheelhouse.

FEATURED PHOTOGRAPHER

Crippling social anxiety and a general anxiety disorder meant I didn’t have it in me to pursue these things as I should. I would spend my school days with my favourite music a constant in my ears to keep the world at bay; a shield, a veil to hide behind and ultimately, as it does, life meandered on. I was always making things, and learning how to achieve the things I had in my head. I I would make music videos - some for local artists, others for my own music. I I taught myself some animation (mostly because I wasn’t confident enough to ask other humans to be a part of things I was making) and suddenly I was in my early thirties working in admin. It took some devastating emotional trauma for me to realise that if I wanted the life I

desired I had to pursue it, so I quit my permanent and pensionable position to find that path.

My inspiration comes from lots of places: personal experience, observation, music, poetry, even conversations; a turn of phrase may trigger an image in my mind, and dreams – mostly those moments between being awake and asleep. Aesthetically my influences range from dalí, Magritte, Varo, Beksinski, Giger, to Monty Python, Terry Gilliam, Tim Burton, Guillermo del Toro, Michel Gondry and Storm Thorgerson. Through visual metaphor and surrealist bent, my images frequently come from a place of trauma and despair - sometimes people recognise and identify with these things because they’ve experienced

or witnessed it; sometimes, much like life, it goes unnoticed. I’ve often been asked why I don’t make pretty pictures or brighter or more colourful imagery - ‘there is good in the world’, and, to me, I feel like there is plenty out there to show us the light. What I feel like I’m doing is what the artists and art I love have done for me my whole life – maybe you can’t see the light at the end of the tunnel, maybe you can but right now it’s not something you feel like you can move towards; what I’m saying is that I know this place and however long it takes to reach the light, you’re not alone in the dark.

Usually the concept and the image arrive as a succession of close-ups in my mind, slowing zooming out to reveal the

JOHN BERMINGHAM

full frame. I often sketch these out, just roughly, to both remember the ideas and also as an underdrawing. They allow me to compose the image and give direction for photographing the elements I need. I also paint and create 3d digital elements depending on the nature of the image. A lot of the time, most notable on my Think About The Future series, even though the concept will be outlandish and extreme, I resist any hyper-realism or flashy presentation - I want the message to escape the medium. For Think About The Future, I wanted to create images that were unpretty and unphotogenic, almost drab. I wanted the images to be like a stark statement.

I enjoy using things in the images as something they’re not – hubcaps for UFos, books for boats, hairdryers for submarines. Reality isn’t a huge concern for me, but I do like the images to have a believability in and of themselves,

e.g., we know the UFo isn’t real but in the image I believe it’s interacting with its environment, and its light is being dispersed by the clouds and backlighting the characters in the foreground. one of the powers of compositing is being able to get a point across by putting elements together that you couldn’t otherwise, that visually deliver the concept quickly, e.g., the baby and the plastic in ‘Life in plastic’. I had no intention of making anyone think it was a real photograph, but I wanted it to be believable enough to deliver the punch of being oblivious and vulnerable in the face of plastic pollution. The baby, who I did not want to appear to be in distress, represents (among other things) what I saw as my own naivety with regards to the extent that plastic permeates the world we are living in, and in particular the idea that we are likely ingesting microplastics in some of the food we eat. Subsequently, an article appeared in The Guardian

newspaper in december 2020 stating ‘Microplastics revealed in the placentas of unborn babies. Babies are being born pre-polluted.’

For me, the subject of all of the images is the idea. The characters and elements are just my way of getting the pixels to convey the concept. With the advent of AI-driven creations and how easy it is becoming to conjure any kind of imagery we can imagine, I feel it’s important to have something of value to say, something original or unique, or at least a new way to reiterate something important. Above all, I believe in positive output, creating something to be momentarily enjoyed or something to be pondered long after. Whilst at first glance much of my output seems bleak, it is all created from a pure place and always with an intended positive purpose, and never destructive.

www.allthatcanbe.com

Viewing the world through an odd-shaped glass

SaRah JaRReTT

I define myself as a Collage Artist. I use digital and analogue processes working in a variety of media – photography, painting, and collage. The main thread running through all my images is the human relationship with nature and the natural world. I am particularly interested in flowers and plants as metaphors. I have always worked as an Artist and have been published globally. I am a visual storyteller.

Formally trained. I completed my degree and postgraduate studies at Harrow School of Art and Brighton University, specialising in Photography and then Fine Art. I was singled out in my final year for special bursary prizes from both Kodak and Agfa. After graduating, I taught Art, Textiles and Photography and continued to freelance and exhibit my work in the UK, Europe and US.

FEATURED PHOTOGRAPHER

I have acquired the most knowledge from being constantly curious and trying to teach myself new things. I’m never static and spend a lot of time looking at art on screens, in books and in galleries.

I’m an eccentric trying to view the world through an odd-shaped glass. My images reflect that and my interest in nature. I’m drawn to the surreal, strange and bizarre. I want my images

JARRETT

to provoke an emotional response and to leave an impression that is not easily forgotten. My digital works are bold and colourful - full of botanical details.

SARAH

FEATURED PHOTOGRAPHER

My subjects are isolated and emotional, telling a story. The turning point in my career was winning Mobile Artist of the Year in 2012/13.

I never stand still. I’m always pushing myself in new directions.

I don’t just work with the static image. In the last year, I’ve been making animated short films of my collages. I will surprise you and make you think and be inspired. My work has a very unique feel, and I have a very loyal audience who have followed me for a long time.

www.sarahjarrettart.com

Waking to Antarctica

Long ago, I saw an old man sail to the end of the world and wished that I would one day see the bottom of the world with my own eyes. The old man wished that for me too and shared his stories. One day, our wishes came true and I found I was totally unprepared. on top of one wave

another wave passes by and then another

It’s Extreme / Wonders

A place of extraordinary extremes, Antarctica is the highest, driest, windiest, coldest, most isolated continent. The 5th largest of the 7 continents (larger than Australia and Europe, 50% larger in area than the United States of America), measuring 5.4 million square miles, it lies 600 miles from Argentina, 1600 miles from Australia, and 2500 miles from South Africa, making it the only continent that is circled by an unimpeded current and so ringed by the roughest seas in the world. From the geographic south pole (one of at least eight

PaUl caPonigRo

poles), you can point in any direction and call it north. It experiences a six-month period of daylight in summer and a sixmonth period of night in winter, during which temperatures may plunge below -130°F while wind speeds may exceed 200 miles per hour. Inland, it’s a white wasteland, containing the lowest biotic diversity on the planet; surrounding it, the oceans that feed it, as it feeds them, teem with an abundance of life. Its ways seem so alien that it challenges our ways of thinking about our planet and ourselves.

The world is different than I had imagined. I can travel to another planet without having to leave my own. I’ve made pictures to prove it. Yet, so much is left out of the images: sound, smell, touch, taste, time, breath,

dreams, possibly more. The pictures are incomplete without my stories. I returned at a loss for words and began finding ways to find them. As I began to gather the pieces of this puzzle, I realised its borders were much wider than any map I had seen before. There was much more left to discover, not only about the world, also about myself. There was a question I could not escape. What’s the difference really?

torn paper mountains words images not enough oceans of first drafts

It’s Water - It’s All States Of Water

The crystal desert is mostly water in all its states: solid, liquid, and gas. It receives less precipitation than the Sahara, and its

dry Valleys have not had precipitation in over 2 million years. Paradoxically, what Antarctica is best known for, is its ice cap, the largest body of freshwater containing 68% of the world’s reserves. Buried under 11,000 feet of ice, Lake Vostok is the size of North America’s Lake Huron, and it is just one of many. There are active volcanoes too. Containing 90% of the world’s ice up to 15,700 feet thick, the weight of the Antarctica ice sheet depresses the continental crust by more than half a mile. The largest recorded iceberg, B15 (11,000 square miles, larger than Jamaica) broke off the Ross Ice Shelf in 2000 – and more than a decade later, parts of it had still not melted. If all of Antarctica’s ice melted, the highest continent (6,000 feet on average) would rebound higher and global sea levels would rise 200 feet. Antarctica’s sea ice is

FEATURED PHOTOGRAPHER

larger than the Arctic’s and contains more variability, shrinking and growing each summer and winter from 1 to 7 million square miles versus 2.5 to 6 million square miles. With only 2% of the continent revealed, what we see is mostly water – ocean, clouds, precipitation, ice.

Trying to see the land, I saw myself in the land. Where one place starts and another ends, it’s hard to tell. An island is also a mountain mostly in the sea. The oceans are many and one simultaneously. There’s the space moved through and the one who moves through it or lets it move through them. The body’s

already porous and pervious, constantly eating, drinking, breathing a place within a place. What becomes more permeable is the heart and the mind. How many ways can the self open itself to its greater self?

in the sky one sun light’s second sight reflected on the sea billions

It’s Reciprocity - It’s Undeniable Reciprocity only recently discovered (how long ago depends on who you ask and how they mark it), Antarctica has never had an indigenous culture and will remain an international territory devoted to science until 2048 – hopefully longer. It’s no man’s land and everyone’s land. It’s a proof of past and a test for future international cooperation. The quick rebound of humpback whale populations and the slow closing of the ozone hole clearly demonstrate conservation works. Together, a global community of scientists continues to discover wonders there and many times visitors help them.

They say you go as a tourist and return as an ambassador. You can’t go to Antarctica and return unchanged. You may never have been to Antarctica but we’ve all been touched by it. While Antarctica seems almost impossibly remote, it exerts powerful influences on our climate, weather, oceans, and tidelines. No other place so clearly demonstrates how deeply connected everything and everyone is on this tiny blue marble floating through space that we call Earth. Antarctica’s extraordinary richness, stunning grandeur, and unforgettable beauty are profoundly transformative.

Having travelled to Antarctica 13 times in 18 years, I now make an annual or a biannual migration to a place I think of as another home, if not for my body but for my heart. When I’m not dreaming in Antarctica, I’m dreaming of her.

www.johnpaulcaponigro.com

breathing in the wind some far off shore is calling on Earth we’re always home

Beyond the lens

anThony laMB

Early on in my photographic journey, a quote by Henri Cartier-Bresson caught my attention: ‘Your first 10,000 photographs are your worst.’ It motivated me. As a selftaught photographer, I practised my craft obsessively and studied other photographers who inspired me. In these early years, finding the perfect light, perfect locations, telling meaningful narratives and building collaborative collections seemed less critical. It was simply about immersing myself in nature, documenting my encounters.

Nature has always been a calming influence on me, a sanctuary where I can remove myself from everyday life.

Even now, I don’t think my photographic collections are preenvisaged. The story tends to evolve organically from the connective experiences on location. There is, however, a more profound thought process behind location selection, weather conditions, chosen subject, composition, and preferred techniques used. But I never shy away from opening my eyes on location and following a free-spirited approach.

So how often do I get the opportunity to head out into the outdoors with a camera in hand? There can be a misconception of how often landscape photographers can do what they love, capturing images in the heart of nature. The proverbial emails need to be replied to, written proposals, marketing, writing articles/books, commercial photography work, exhibitions, and hours and hours of post-processing. This is not an exhaustive list but provides an insight into what probably takes up to 70% of my time. Please don’t misunderstand me, I still love every minute of my job and wouldn’t change a thing. I’ll now take you through the process of photographing a scene from initial research to selling a limited edition print. The first decision as a landscape photographer is the choice of subject or location. over the years, I’ve changed my approach; early on in my photographic journey, I would head out with my camera in only favourable

weather. Now, I tend to select a suitable region, research the location using Google Maps and pin specific areas of interest that might provide appropriate subject matter. I will also look at tide times, sunrise/sunset times, and weather conditions based on the time of my visit. This process allows me to build up an approximate schedule, reducing the risk of wasting time on location. However, all the planning in the world doesn’t

always equate to what you might have envisaged.

No matter which location I choose to photograph, I intentionally head out in overcast or challenging weather conditions. Sometimes the weather can turn for the worst, with wind, rain, sleet, and sometimes snow. I’ve always had a fascination and desire to immerse myself in the elements of nature. I’ve placed myself into desert storms on the Arabian

This technique has provided me with impromptu images and some of my best captures.

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Peninsula, executed long exposures in horizontal rain in the Scottish Highlands, and caught the sunrise on the dizzy heights of Mont Blanc. Having selected a location, determined a strong subject, and conditions are perfect for my photographic approach, now I must compose the image on location and create a personal

perspective of the scene to provoke visual interest.

For me, a strong composition creates the balance, structure, and focal points required to produce a photograph that

will bring all the frame elements together.

For many years now, my photographic style has revolved around simplicity by reducing the subject matter in the composition and using space to provide a sense of air. The photographer then begins to tell the story of the landscape

through subtle glimpses. on many occasions, fellow photographers have observed the glacial pace that I work at in the field when composing an image. I think my composition consideration is the reason. I’m visually sorting through what’s in front of me; I’m ‘really looking’ and arguably ‘seeing more’. Minimalism makes you consider every aspect of the photograph, which is why it’s so paramount to get things close to perfect in camera. I share this thought process through my educational workshops. The in-field mentoring workshops offer advice to passionate photographers who wish to use their creativity, inspirations and originality to achieve results.

Photography doesn’t just have to stop at capturing what’s in front of you.

The digital darkroom allows me to use my creativity to perfect or adjust the image in line with my vision. I avoid deception, removing or adding large objects. But by adjusting saturation, hue, contrast, tones, and directional light, I aim to portray my emotional connection to the landscape. The painterly expression I employ probably dates back to my childhood when I was lucky to browse art galleries containing

Canalettos, Turners, and an assortment of Impressionist paintings. Choosing which images are portfolio worthy can be a selection nightmare. I’m probably my most prominent critic, so I will sometimes leave an image to mature before deciding if to include it in my body of work. I’ll also rely on gallery curators, fellow photographers and close family to help me make a final call. once I have a body of work, it’s up to me to take it to market. I may start by entering international competitions; work that’s been successful is then pitched to galleries and art consultants. It’s a great way of gauging the direction of photography and provides you with a benchmark against other photographers in the market. I conduct seminars discussing how a series of images is developed. Getting your work into the public domain is essential and understanding how people react is paramount.

Creating a body of work requires patience. In some cases, it’s taken me years to build a collection worthy of being considered for the next step: exhibiting a collection. I’ve been lucky enough to work with art curators and consultants when selecting, and I’ve learnt a lot from their advice. Creating

flow in an exhibition is so important; creating synergy through composition, colour, hue, and subject holds the portfolio together.

By fine-tuning this photographic process over the years, I now produce work that reflects an idea, a more personal interpretation, and maybe pieces of thoughtprovoking fine art. But I’ll leave that for you to decide.

FEATURED PHOTOGRAPHER

www.anthonylambphotography.com

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).

https://rps.org/groups/visual-art/