Satellite Group Updates

Crossing Lines Group May meeting

The May edition of Crossing Lines was a continuation of the previous month’s session headed by Gill Golding. We maintained our location at Greenwich Millennium Village but referenced the state of play regarding architecture and the modification of urban spaces in the late 19990’s, it’s central protagonist Richard Rogers and it’s freshly-minted Blairite sponsorship.
John Levett thought that he had the necessary evidence of urban blooming and the intricacies of the new model for the millennium but, having trawled his archive, found that he was no more than a pitiful, pliable architecture-heavy groupie with a fetish for Norwegian wood (or Finnish).

Millennium Primary School. Greenwich. London. UK. Edward Cullinan Architects. 2001.

Gill Golding set us back on the path of the historical evolution of the space and its emergence as part of the pile-‘em-high; sell ‘em short estuary lounge locations.
Gill Golding
Carol Kenna introduced ‘Create Streets’. She posed the question: “Can you create sufficient new homes and maintain street patterns without resorting to high rise flats?” She indicated how this philosophy built on the thinking behind the Byker experiment in the 1970s. The loss of vistas and horizons was a key theme in Carol’s presentation of recent developments in Woolwich.

Electricians & M&S

Peter Luck gave himself the enormous task of presenting an archival approach to the south bank of the estuary; its changing topography, economic history and modes of representation. This to be done in thirty minutes. The heroic effort drained Peter but he had breath enough to signal an intention to return to the scene; if the scene is still the scene where he left off.

Peter Luck

Report by John Levett

Barnes Group April Update


LIP’s newest satellite group, based in Barnes, held their third meeting on Tuesday 26th April. There was a good attendance and the standard of photography has continued to improve. The theme for the month was Spring and the attendees’ photographs succeeded in capturing many of the inspiring floral and faunal aspects of the season. Of the many photos presented by the group, we chose this floral photo, taken by Paul Rawkins, as our favourite of the evening:


The group’s next meeting is to be held on 24th May and takes lines/patterns as its theme. If you are interested in joining the Barnes satellite group, please contact Darius Nikbin

Central London Group April Meeting

Last month’s theme of Animal, Vegetable or Mineral produced a surprising range of responses. Rather than photographing the natural world in a straightforward documentary way, most people chose to portray their subject in ways that resulted in often abstract or semi-abstract images, provoking us to question what we see. Close-ups of mushrooms using extremely shallow depth of field emphasised their strangeness. Plants captured behind opaque glass took on a vaguely sinister air. Patterns in the sand displayed an amazing variety of shapes. Waves caught crashing on the beach or trees blurred to a painterly abstraction showed how movement can be stilled or accentuated. Here are just a few examples from the evening….

Anna Lerner

Danilo Leonardi

Ku-Ring-Gai Chase by Mark Johnson

Using My Camera as a Paintbrush by Sue Czapska

Edith Templeton

Our next meeting will take place on Wednesday 18th May 2016 at 18.45 at the usual venue – The Art Workers Guild, 6 Queens Square, Bloomsbury, London WC1N 3AT.
The theme will be Stranger/Tourist in Town. This offers a great opportunity to look at the city with a completely fresh perspective from your normal one! Please bring along any work you wish to share on a memory stick or in print form.
Advance notice for June: The Bigger Picture (interpret as you wish – either literally wide-angle/panorama/cityscape or a broader overall view of the world)

Greenwich LIP Group April Meeting

Quentin Ball opened the evening with a fine set of images from the American South West. There has seemed to me to exist landscapes, the photographic capturing of which, any decent photographer couldn’t foul up. Quentin’s imagery stops that attitude in its tracks.


Quentin has patience; he waits for the light. And waits and waits. For me, if the light doesn’t turn up at the right time (i.e. the moment that I arrive in a location) then I’m off for a cup of tea & a bun. Quentin’s work is the product not only of patience but of a deep-rootedness within the landscape. He is not a day-tripper but one who has stored knowledge of where, when and the consequences of haste. Excellent work.

There followed three presentations derived from dérives in Lisbon where John Levett, Anita Strasser and Allan Grainger had taken part in a symposium earlier this year.

John Levett had visited Cova do Vapor, part of which housed an ‘illegal’ settlement; illegal in the sense of being occupied and provided for by its displaced, unemployed population. The term ‘unemployed’ is misleading; they are employed in the creation and maintenance of their community. The housing they have created is serviceable, safe and kept secure. This peninsular across the Tagus from Lisbon Central once house political prisoners of the fascist Salazar régime.In the circumstances JohnLevett thought it inappropriate to photograph the community directly.


He chose to photograph the soil upon which he walked. There was an obscure reference here to the final hours of the philosopher Walter Benjamin who, in fleeing Nazi threats had made a failed attempt to cross the border from Spain in 1938 and thereafter committed suicide.

Anita Strasser is known to us mainly through her engagement with the community in which she lives: Deptford. Her local and profoundly committed work has demonstrated fresh approaches to working within a community of which one is a member. She works from inside rather than arriving as a pilgrim ethnic explorer. Interestingly but not surprisingly, Anita chose an early morning walk within the environs of where she was staying for the symposium.


Anita Strasser

The absence of a population on the street was coincidental not an exclusion of one: that would never be Anita’s approach. What Anita did capture was, again, the self-creation of place and community. Sometimes the quality of a neighbourhood can be indicated by what & who is not there rather than what is traditionally, and sometimes repetitively, visible. It was Sunday; community day off.

Allan Grainger is another for the dérive and the psychogeographical  encounter. This practice, Allan illustrated by both his Lisbon encounter and a more recent dérive from a Peter Coles-created walk along the course of a ‘dead’ river in Paris.


I’ll quote Allan here:

The murmuring flow of this ghostly river constitutes the delicious possibility for the imagination to alter its course towards a different direction; away from J K Huysman’s dreams of melancholic landscapes and towards the new charms this phantom river has to offer from the top of its concrete entombment. Above this meandering river lies evidence to its past infamies – humanity as always leaving its mark to be discovered. There is also the hint (vestige?) of the ‘other-worldly’ in the processing of Allan’s images.

More excellence on Wednesday 18th. May: 6pm

John Levett

Crossing Lines Group April meetup

The April edition of Crossing Lines featured two presentations.

Przemyslaw Polakiewicz premiered his film No Borders: Our Passion for Freedom. This was his representation of the walk undertaken in January this year by The Edge group of photographers.

This originated in Del Barrett’s Bleeding London project in which The Edge Group undertook to record the outer boundaries of the capital. The work undertaken there morphed into a collaboration with a group of students in Seoul, South Korea, and their teacher Jiwon Kim. Work from the Edge was exhibited in a collection of disused university labourites whilst work from Seoul was exhibited on the streets of New Cross-Deptford.

Film still copy

Gareth Davies

Przemek’s film is a record of the social practice that the January detour represented. It captures the connectives of the group in relation to each other and to the built environment as well as indicating the interconnectedness of the group in the social practice of walking-talking whilst responding to the textures of the images in relation to the textures of the built surfaces that were ‘borrowed’ for the detour.

The film presentation was followed briefly by an outline of the work of The Elephant’s Journey Group of photographers.

SDC13364 copy

Steve Stewart

Gill Golding has spent time embedding herself in the evaluation of the Greenwich Peninsula evolution. ‘Evolution’ in this context is a polite term for engineered appropriation. The discussion opened with reference to ‘The New Architecture’ trope of the end-of-millennium ethos associated with Richard Rogers. Gill’s concerns are about the evolution of Greenwich Millennium Village from trailblazer to corporate representative.

Walking the Greenwich Peninsula - Gill Golding

Gill Golding

During its construction and opening the Village was viewed as a sensitive and innovation approach to mixed occupation within an historic space. The ditching of that aspiration in favour of Roundabout City speaks of the failure of custody of a history and a loss of communitarian aspirations. Greenwich Millennium Village is not the only site of the minification of millennium visions.

Report by John Levett