Our February meeting introduced our slightly different format, in which we feature 12 sets of images from members, plus the usual two ‘outside sources’ proved to be very successful. 

The session revealed many ways of interpreting the world from a contemporary view.  Tessa reminded us of the succinct description of contemporary photography, as provided by the RPS: ‘Photography that communicates a visual realisation of a stated argument idea or concept’.

We enjoyed a variety of themes and topics.  Bob Oakley and Peter Young chose details and patterns within the environment revealing how those with eyes to see can find unintentional artforms where liquids and surface textures interact.  Alex Isaacs transported us to Lisbon to experience the transition of day turning into night, whilst with scenes of Manhattan, Charles Ashton showed his response to the dizzying heights and kaleidoscopic reflections inside skyscrapers. 

Personal interactions with the environment came from Geoff Hicks with his witty images concerning tin cans. Tessa Mills interpreted Magdalen College, Oxford through  overlaying imagery as a visual representation about how accumulated knowledge in the very fabric of the building could leech out to new generations through a form of osmosis.  Gill Haynes’ sequence showed how the fragile environment of Norfolk and Suffolk is under threat from power companies, increasing traffic and coastal erosion.  John Hoath went indoors to explore and express how visitors to art galleries interact with the work on display.

Eric Williams experimented with intentional blur and colourising to render scenes less prosaic.  By adding an element of romanticism and a form of reductionism, we’re invited to look deeper. 

A strong sense of history informed other topics.  Richard Broomfield took us upon a nostalgic trip to Swanage and the Dorset coast where he grew up and the terrifying experience his mother endured during the Second World War.  A feeling for the past was the basis of Lucy Allum’s portrayal of long-abandoned brickworks on Anglesey, whilst the power and influence of Marcher Castles and similar fortifications in Wales, combined with infrared photography was the inspiration for Clive Haynes.

Our two ‘outside sources’ this month provide visual delight and stimulus.

Ruth Bourne suggested the work of Karoline Hjorth.  Everyone enjoyed the combination of playfulness and expression. ‘Eyes as Big as Plates’.   Here’s the link to explore more.  Eyes as Big as Plates

Our other ‘source’ was the second part of our appreciation of the visual freedom, liberated sense of contrast, geometry and space by Ray K. Metzker.  Here’s the link.  Ray K Metzker

If you have suggestions for contemporary ‘outside sources’, please do let us know. 

All the images and individual statements are ready to be seen in this month’s edition of ‘Viewpoint’.  Click on the image or use this link:  Viewpoint

Here's the link for all recent CPG Viewpoint e-books