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Featured image © Mark Friend

Central LIP’s November meeting gave members the opportunity to present current personal projects. There was an inspiring variety of projected digital images, books, zines and mixed media works, and we were treated to examples of layering, ICM, social and cultural documentary, historical archive, and the use of stitching and embroidery in mixed media work.

© Austin Guest

Austin started the presentations with a study of ancient yew trees. Austin’s work explored both the siting of the trees and their physicality. He captures the animistic presence of these massive old trees. Photographs of deep ochre wood against green leaves, gnarled and dense textures. Some trees have been propped up. One chained. Storied lives.

© Chris Burrows

Chris has been working on a series of black and white photographs of coastal piers. Wide in variety, the images ranged from the geometric 1970s sports centre on Herne Bay pier through to the delicate filigree of Clevedon Pier. There were dramatic skies, gentle peaceful scenes, hulls of old boats and silvery waters. The black and white treatment was used to great effect.

© Heather Martin

Heather presented more of her work using a medium format vintage twin-lens reflex camera. Heather’s photographs had a sense of timeliness born out of the subject matter and camera. In one a woman was engrossed in her phone while sitting on a Lambretta outside Quadrophenia Alley in Brighton. In another, three women sat under the Ladies toilet sign on Brighton pier.

© Hady Bayoumi

Hady showed a beautiful collection created by layering multiple images from both his garden and home. Silhouettes of dark trees overlaid translucent layers of colour. Delicate flowers and leaves were embedded in delicate pastel colours. In a sense he was reimagining the garden.

© Mark Friend

Mark presented his work on coastal East Anglia. Focusing on Great Yarmouth for the presentation, the towering Ferris wheel was ever present, sometimes in the background, sometimes implied by its shadow across a beach. The back streets were portrayed with a sense of mystery.. Seaside towns are having a hard time and Mark wove together both the seaside and the hidden parts of Great Yarmouth into a portrait of the area.

© Eve Milner

Eve had a set of images from the West Coast of Ireland. Atmospheric images created with intentional camera movement captured a strong dramatic sense of the landscape. Dark skies, seas and hills gave way to broader vistas. Movement often seemed to follow the shape of the landscape, leading the viewer’s eye around the image. The impressionistic approach really captured the area. A brief discussion followed on the difficulties and benefits of intentional camera movement.

© Edith Templeton

Edey showed us memories and dreams of an idealised garden. Striking plants gave way to gossamer fine leaves and petals. The shallow focus gave the images a dreamlike quality and drew viewers in to the images. She used blue toning across all the images, which provided both coherence and a sense of longing for this idyll.

© Frankie McAllister

Frankie provided us with a glimpse of the Arcachon Bay on the Atlantic Coast in France. She used intentional camera movement interspersed with in-focus detail images to present something that provided a sense of place. Boats on still water, sea walls and landscapes were presented in a palette of dark greens, browns, greys and pale blues. You could almost feel the wind and rain.

© Simon Zebu

Simon brought along three books he has completed, and also presented a set of work mostly set in Paris. He opened with a woman striding towards the view in head-to-toe white in front of a shop named “Oh my cream!”. In another a man walks with studied disinterest past a gold car outside a Versace store, and in another someone leans a hand against a massive picture of Dali while speaking to his audience. An animated and fun collection of imagery.

© Raj Munisami

Raj gave us a brief introduction to Diwali and then presented a glimpse into the festival using a set of images from the home and outside during the festivities. Rich colours, oranges, reds and brass abounded. Diyas were ever present with their gentle flame from ghee-soaked wicks. A woman carried fire in a bowl. An ornament in a temple was framed so it appeared it appeared to float. A lovely glimpse of celebration.

© Rashida Mangera

Rashida brought along some mixed media work where she had stitched and drawn onto photographs. She used thread and delicate French knots to turn a photograph of rust into an evocative work, in which people’s imaginations led them into seeing maps, camel trains and the Nile Delta. A picture of the Turbine Hall was given a textured rendering. Rashida also showed some beading work on material and some work on a family photograph that had been stitched with 100-year old thread.

© Robin Barr

Robin showed work mostly taken in Yorkshire. Images were both architectural (Arndale tower) and witty (Salford Shopping City lettering on the tower block above it). Striking buildings against blue skies and fluffy white clouds. These gave way to discarded bedding in an alley in Manchester and some in-camera double exposure experiments that showed alternative views of the area.

© Nusse Mechthild Belton

Nusse has been working with double exposures. Clouds rose up the side of buildings, while the London Eye replicated itself across the frame. Kites in Hampstead layered their colours. People crossed bridges in the clouds. Buildings were set at right angles to each other. An altogether fantastical set of imagery showing London in a new light.

© Pauline Moon

Pauline provided us an insight into her project about our fragile world. She wanted to make the climate related changes in the everyday world visible in this work. All too often we don’t notice the small changes. Using a photo transfer-based technique Pauline had produced a striking set of images of local landscapes that were distressed or torn asunder. Chaos seemed to seep through the wounded land. Thought provoking work.

© Sukhy Hullait

Sukhy presented work done for the Joseph Rowntree Foundation, including marginalised people and victims of poverty. A man looks into the camera from his beekeeper’s suit. He leads a community garden for addicts and recovering addicts. A checkout supervisor who has been robbed multiple times while closing-up and has to wear a stab vest. People making jerk chicken, helping at soup kitchens. A tender set of pictures that apart from anything else, reminds us all how lucky we are.