St Leonards-based artist, Neil Adam Mackay, is truly a talent to behold, one with seemingly limitless skill and creative innovation. Woefully unaware of his work prior to this feature, it was a mutual friend (and fellow member of the HIP team) who initially introduced to me to his exquisitely varied oeuvre and I found myself instantly captivated by his unique, visionary flair!

Neil’s illustrious career began more than three decades ago, first as a student of Art, then as an independent artist and teacher – one whose comprehensive knowledge of art history is very much evident in his subsequent, prodigious output.

Bespoke faux painted tapestry by the artist

His artistic repertoire includes an enviable litany of skills; from elaborate wall murals and gloriously grotesque arabesques to trompe l’oeil, chinoiserie, abstract decorative designs and even architecture. In addition to the aforementioned, Neil also has a keen eye for portraiture, masterfully capturing the human form in a style which is wholly his own.

Previous projects have been just as eclectic, with Neil recently being hired to paint a series of erotic murals for Channel 4’s lavish production, The Great (featuring acclaimed Hollywood actors Elle Fanning and Nicholas Hoult), a quasi-historic comedic romp set in 18th century Russia, which follows the rise of the now infamous Catherine the Great.

Mural by Neil, on a house in Normandy, France

Perhaps my favourite areas of work in his portfolio are the faux painted tapestries. Neil’s fascination with the latter was first inspired by a trip to Italy, where imitations of woven tapestries are often used while the originals are on loan or simply set aside for safe keeping. Neil presents this revised version of the more traditional tapestry as an innately affordable luxury, one which offers a multitude of possibilities: from a once-in-a-lifetime gift for a loved one to a lavish alternative to the humble curtain.

Further exploration of his work draws comparison to that of the Renaissance artists Michelangelo, Leonardo Da Vinci et al in both grandeur and sheer scale of workmanship, all of which is combined with distinctive elements of Baroque and Neo-Classical style.

From small, private commissions to more wide-ranging corporate requests, Neil actively encourages a collaborative approach throughout his work between the client and himself. Indeed, it feels refreshing to see, in these ever evolving, technology-riddled times, an artist who is so able to revitalise such traditional forms of art, in a manner which still feels utterly contemporary.

• Please refer to the artist’s official website for further details
www.neiladammackay.com 

COMMING SOON:
Mia interviews Neil Adam Mackay in a forthcoming arts special episode of HIPcast. More information can be found via The Hastings Independent website.

MSL’s current project, The Sea Beneath, is an intriguing exploration into the hidden depths and rich maritime history of Hastings’ oceanic past, its present and future.

Funded by Arts Council England, The Trinity Triangle Heritage Action Zone and East Sussex Arts Partnership, this unique venture seeks to engage a variety of professionals from the dual spheres of Science and Art, through innovative discourse and exploratory interaction.

PICTURE: Sarah Macbeth

A socially distanced dowsing session, held at the America Ground in December 2020, formally launched The Sea Beneath’s programme of events. This was followed, in January of this year, by a virtual Creative Caucus meeting online to instigate wider discussion and help shape the project as it progresses.

I attended this event alongside a panel of experts that included historians, artists, scientists and activists, as well as members of the local populace.

After a brief introduction from MSL, the space was opened up to various contributors, such as digital artist, lecturer and creative coder, Judith Ricketts, who used the oceanic theme to reflect on its intrinsic links to the African diaspora whilst also considering how space and time can be mapped, in order to open up difficult conversations about ‘the Other’.

Freelance associate artist for The Hastings Museum and Art Gallery, Rosa Torr, gave a vivid depiction of the sea as a repressed, wild beast lurking in subterranean waterways, ready to re-emerge and re-claim the urban streets above, one of many highlights of this thought- provoking event.

There was also much debate about the Hastings locality as a seaside town and how this has defined its identity over the years. There was a shared acknowledgement of our responsibility as residents to be mindful of the sea and the surrounding environment, a pressing reminder of the ongoing, worldwide climate emergency.

A shared acknowledgement of our responsibility to be mindful of the sea and the surrounding environment

The Creative Caucus gave a fascinating insight into two forthcoming events (Covid restrictions permitting): Discovery Day and Semaphore. Due to be held this Spring, the Discovery Day will bring environmental scientists and geographers together in researching Hastings’ ever-evolving coastline, whilst contemplating the possible submersion of the town, if sea levels continue to rise as predicted. The findings from this will then be translated into more abstract forms by specially commissioned artists and storytellers, in an attempt to re-connect us with the unseen waterways underneath our feet. 

Finally, The Sea Beneath will conclude with Semaphore – a specifically curated public happening, taking place in both real and digitised space. Semaphore is a re-configuration of a performance piece by the acclaimed photographer Chris Wainwright and endeavours to convey the immediate threat of rising tides and the impact this will have on humanity.

The Sea Beneath acts as a pertinent reminder of the urgent need to work with nature rather than against it, positioning MSL at the forefront of a much-needed green revolution for Hastings and St Leonards.

• Please refer to the MSL website for further details on The Sea Beneath and associated events: www.mslprojects.co.uk

Highly revered within his field as a creative, Wood’s work has been widely featured across an impressive array of media on a truly global scale, in publications such as The Guardian and The National Geographic Traveller, and many more.

Happy Families by Ian Wood

Great Apes gives a glimpse into the lives of a variety of primates, capturing some of their most intimate moments. Wood’s photos expertly convey the sheer majesty of these astounding creatures, whilst also encapsulating an innate passion for his remarkable subject matter.

The concept for the show evolved from Wood’s own concerns for the already endangered animals’ fate, in the wake of the ongoing pandemic and the subsequent impact this has undoubtedly had on previous conservation and fundraising efforts.

As such, a proportion of all proceeds raised by any images sold from the show (which also includes some additional limited edition prints signed by Ian Wood himself) will go to one of three charities: The Orangutan Foundation UK, Gorilla Doctors and The Jane Goodall Institute. Each organisation shares a common aim, to preserve the wellbeing of these proud yet inherently vulnerable creatures, whilst also acknowledging the vital role their existence plays within the wider eco-system at large.

In a further gesture of support for the above charities and the magnificent animals they work so hard to protect, the first edition of one photo of each animal has been signed by Sir David Attenborough, as well as by the renowned conservationists Dr. Jane Goodall DBE and Ashley Leiman OBE. These prints will be auctioned online (details of which can be found on The Lucy Bell Gallery website) with all funds going directly to the organisations, as previously noted.

I was sadly unable to visit Great Apes in person due to the recently imposed lockdown, but enjoyed it from afar, online, instead. It’s a testament to Ian Wood’s expertise as a photographer that I found myself utterly enthralled by the show, despite the remote context from which I was forced to view it.

The Kiss by Ian Wood

One of my favourite images: The Kiss, features two primates, one embracing the other in a near Christlike pose, which feels strangely reminiscent of a painting by one of the great masters of yesterday; whilst the arresting portrait of a female gorilla in Motherly Love is simply a wonder to behold, brimming with maternal instinct and virtuous intent.

Indeed, perhaps the over-arching message of the show is just how precious these animals are and how similar we are to them.

Great Apes is a fascinating exhibition and brings one face to face with creatures that are as complex as they are engaging – full of wisdom and hidden mirth. Yet they are also heartbreakingly fragile, and Wood’s work serves as a pertinent reminder that we all have a responsibility to nurture and preserve these incredible beings – before it’s too late.

• Great Apes is running until 17th December 2020, please refer to The Lucy Bell Gallery website for more details: lucy-bell.com

Coming soon: You can listen to Mia’s interview with Ian Wood in a forthcoming Arts episode of the HIP podcast. Please refer to our website for further information hastingsindependentpress.co.uk

Hosted by the ONCA Gallery, in Brighton, this startling body of work can be viewed in two parts, both online and via a specially curated window display held at the gallery itself.

Jaye Ho’s series of beautifully rendered paintings act as a striking juxtaposition to the disturbing subject matter they so unflinchingly portray. Born in Oxford to Singaporean and Malaysian parents, the first part of The Vanishing Act draws on Jaye’s own rich cultural heritage, as well as the foreboding reality of life for her ancestors who grew up in the Japanese occupied territories of South East Asia during World War II.

1st Aunty By Jaye Ho

The opening section of the show: My Family History (6th-25th October 2020) features a series of images of Jaye Ho’s Aunts, all of which were painted from actual family photographs. The women’s faces are only partially visible, purposefully obscured by a myriad of geometric shapes and colourful prisms, an effect which mirrors her Aunts’ personal experiences as females living under the constant threat of rape and torture from occupying forces during the war.

The paintings serve as a poignant reminder of the hidden atrocities of conflict and in particular, the inherent vulnerability of females, who by default of gender are often forced to endure truly unspeakable acts of brutality. Indeed I was shocked to discover during the course of the exhibition, that Jaye’s Aunts had to actively renounce their physical likeness as girls by disguising themselves as boys, in order to avoid such persecution.

In addition to her career as an artist, Jaye also works for the UK Foreign, Commonwealth & Development Office within the Human Rights sector, and this has undoubtedly influenced her subsequent creative output, as is evident in this exhibition.

In keeping with the latter, Ho also  considers the role of perpetrators in My Family History by featuring opposing images of war criminals, such as the notorious Japanese army officer and politician Tsuji Masanobu, who managed to evade capture after the end of World War II. In the aptly titled painting, The Colonel Vanishes, Masanobu’s face is once again concealed, as Jaye presents her audience with a vision of uncompromising truth, one where the criminal looks on, still adorned in the military medals awarded to him for such historical acts of cruelty and barbarism.

Kim Hak-Sun the Survivor and the Skeleton Spectre By Jaye Ho

In the image Reading Festival, Jaye herself stands smiling amongst a crowd of people – a striking visual statement which acknowledges the immense privilege of growing up in the UK during peace time, without the fear her Aunts and so many others were forced to endure. 

The concluding part of the show: Seeking Justice (27th October– 22nd November 2020) views the horrors of war through a more globalised lens – whilst also acknowledging that violence and cruelty are carried out by all sides.

Mounds of elaborately painted skulls echo the undeniable loss of life caused by Cambodia’s Khmer Rouge regime and the Srebrenica genocide in Bosnia, as scattered layers of luminous pixels act as a sobering reminder, that what we are seeing is real and yet so mercifully distant from one’s present-day reality.

Perhaps the most memorable image of the exhibition is Kim Hak-Sun the Survivor and the Skeleton Spectre, which pays homage to the ‘comfort women’ of South Korea. ‘Comfort women’ were enslaved civilians, coerced against their will into sexual servitude to Japanese soldiers, before being murdered, in order to remove any evidence of the crimes thus committed. The women who survived would be consigned to a life of stigma and shame if they spoke about their experiences publicly. Kim Hak-Sun was the first former comfort woman to speak openly about what had happened to her and Jaye Ho celebrates her astounding courage in this haunting work, which also  references the renowned painting Takiyasha the Witch and the Skeleton Spectre by Utagawa Kuniyoshi.

The Colonel Vanishes By Jaye Ho

The figure of Kim Hak-Sun remains hidden, shrouded in a flurry of pixels, whilst the macabre splendour of the skeletal witch dominates the picture, something which Jaye herself concedes is an intentional inversion of more traditional connotations, as the witch represents spectres of the past which some may wish to remain hidden, but which the voices of survivors are bringing to the fore.

Accompanying portraits of the defaced visages of dictators stand in direct contrast to the only image in The Vanishing Act in which the subjects face is apparent. Minova depicts an anonymous woman giving testimony in court, against the soldiers who raped her, as the assailants stand in the background. The painting itself is based on a photo by Diane Zeyneb Alhindawi and details the invasion of the village Minova (located in The Democratic Republic of Congo) by armed militia, during which many innocent inhabitants were callously raped and murdered. The image honours the immeasurable courage of the victims, who in the face of such terrible adversity spoke up, in search of justice and freedom.

The Vanishing Act is an exhibition of huge significance – one that is more relevant than ever given the increasingly volatile nature of the world in which we co-exist. Perhaps the most powerful statement of all, however, is Jaye Ho’s innate quest for justice for all victims – past and present – who have for so long been denied the platform and acknowledgment they so rightly deserve.

• The Vanishing Act runs until 22nd November 2020 at ONCA Gallery Brighton. Please refer to the gallery website for further details www.onca.org.uk

Mia. L talks to artist Jaye Ho about her exhibition The Vanishing Act in an Arts special episode of The Hastings Independent podcast. Listen here

Monkey Back by Brian Rybolt

The title of the show: Two Worlds is both literal and metaphorical in tone, presenting a dual creative perspective on travel and the wonders of escapism. It features the work of photographer Brian Rybolt and artist Jean Davey Winter, both of whom reside in the vicinity of Hastings and St Leonards.

Brian Rybolt was originally born in Los Angeles, but has since travelled extensively throughout his career as a photographer. His work has been featured in numerous shows in the UK and USA Rybolt’s section of the exhibition is a vibrant photographic showcase, captured during a short stay in Las Vegas. The neon-drenched images provide an illicit insight into the hyperbolic fantasy land of one of the world’s most notorious cities.

The latter visuals include a series of decidedly intimate portraits, from an ungainly Marilyn Monroe (complete with chest hair and lopsided wig!),to a pair of scantily attired Playboy Bunnies, caught mid-flight between the twinkling lights of the towering casinos, now immortalised forever on film.

The photographs are highly stylised in tone and display a particular penchant for the unusual and, at times, lurid subject matter, all of which are presented within an enticingly lavish framework of innate excess.

Hide and Seek by Jean Davey Winter

As a self-confessed fan of all things Americana and having once traversed the exuberant sights of Las Vegas myself pre-pandemic, I found Rybolt’s work to be especially compelling, its heady mix of the bizarre and the surreal a welcome, almost hypnotic release compared to the sobering reality of more recent times.

Jean Davey Winter has exhibited her work extensively in both private and personal collections, from the UK to distant metropolises in Japan and the United States. Travel is a key theme in her thoughtful, yet quietly assured creative output of mixed-media artwork. Davey Winter’s contribution to Two Worlds was inspired by a visit to Cuba, in 2017, a trip which had a marked influence on her subsequent work as an artist.

Stand-out images such as Walking through Walls and Hide and Seek effortlessly convey the sultry hedonism of a country still battling with the ghosts and conflicts of its complex socio-political past. By using a considered palette to communicate her interpretation of the latter, Jean Davey Winter knowingly guides her audience through a forbidden land, one imbued with culture and abstract grandeur – still seemingly very much at odds with the pre-assigned ideals of the capitalist West. Her eclectic paintings are an elusive and dreamlike embodiment; of the artist’s own restless soul and ongoing desire to explore new nations and hidden realms.

Perhaps the most notable element of Two Worlds as an exhibition is the contrasting nature of its featured artists, whose vision is both shared and yet wholly unique.

Brian Rybolt’s lucid snapshots of a whirlwind trip to the playground of the rich, famous and woefully forlorn perfectly compliment the meditative, more self-exploratory tones of Jean Davey Winter’s work.

Two Worlds celebrates the gloriously conflicting elements of humanity from a truly global view, inviting visitors on a journey into the beguiling uncertainty of the unknown.

• Two Worlds ran from the 22nd September-4th October 2020. Please refer to the Hastings Arts Forum website for further information on forthcoming
shows and events: www.hastingsartsforum.co.uk

Avid readers may recall my Artist Spotlight feature with Sue Tilley (Issue 150), which ran earlier this year during those initial tenebrous days of the pandemic. Captivated by her flamboyant persona and inimitable flair for all things creative, when Sue asked if I’d be interested in writing about her street fashion photography project, some months on, I felt only too happy to oblige!

Sue and I caught up post lockdown, in the final throes of the long hot summer of 2020, to talk about the eclectic attire of Hastings and St Leonards most fashion savvy residents and why looking good has never been so vital!

Left to right: Personal Shopper Maxine, 58, St Leonards/ London, Fashion Designer Stephen Linard, 61, St Leonards, Burlesque Performer Linda, 40, St Leonards
PICTURES: Sue Tilley

I absolutely adore your street fashion photography as currently showcased on your Instagram page @Stleonardsandhastingsfashions. What inspired you to start taking pictures of the people featured?

Well I was visiting a friend who lived here in Hastings, before I moved down from London, in 2017. I remember seeing a lady cycling down Norman Road… she was wearing a beautiful bright yellow beret which immediately caught my eye! People in Hastings and St Leonards always seem to look so interesting and really make an effort style-wise. I was very much drawn to the area for that reason and have since decided to capture the latter on my travels around town! I already knew some of the people in my pictures beforehand, but many were strangers who have subsequently gone on to become friends!

What do you think makes Hastings and St Leonards unique when it comes to one’s sense of personal style? What do you look for when scouting for new subjects to join the acclaimed echelons of your virtual gallery on Instagram?

I like to take photos of people who dress with a sense of purpose and aren’t afraid to make a statement in what they wear. I’m a huge fan of vintage fashion and also love bright colours – theres such a wonderful plethora of second-hand shops within the local area; people have everything they need to dress in a creative, yet affordable way. I think the amazing arts scene here has a lot to do with people’s dress sense too, all of that visual flair seems to spill out of the galleries onto the streets and I just can’t get enough of it! I’ve always been drawn to people who stand out from the crowd – people who aren’t afraid to be themselves.

How much do you think the location of Hastings as a coastal town influences its residents’ sense of style and individuality, compared to the bustling metropolis of a city such as London?

I think where you live can definitely influence how you present yourself to the rest of the world. The pace of life in the city is so different to that of Hastings – it all seems much more centred around work and monetary gain in London – everyone looks the same! Seaside towns have long been associated with leisure and relaxation and I think people’s style here reflects that. I also think Hastings is very unique – even compared to the nearby towns of Bexhill and Eastbourne – as we have a very long and esteemed tradition of dressing up here. I love Pirates Day and Jack in the Green – such unique community events really celebrate daily life here and encourage anyone who wants to take part to make an outfit or just come along for some fun. I know some people who spend weeks planning what they’re going to wear! People don’t take themselves too seriously here and I think that’s so important in life overall.

How would you describe your own personal sense of style, and do you think this has changed or evolved in any way since relocating to Hastings, from London?

I’d say my style is very mixed – I tend to pick up items to wear at random, wherever I find them! I like zany colours and bold designs. I often think I dress more like a child than a grown woman of sixty-three, but that’s just me! I’ve definitely become more comfortable in my own skin since moving to Hastings – I have more of a tan now, which is nice, and I’ve allowed the grey to grow out in my hair too. I definitely wear less makeup these days – I still love my red lipstick though –it just seems to have the power to make even the most overcast of days brighter!

How important do you think fashion and individual style is in our everyday lives, and how much does it relate to our personal wellbeing and sense of self-expression?

What people choose to wear can really help to define them, as clothes can say so much about who you are as a person. It’s almost primal and feels quite instinctual in a way; I see personal style as an integral part of the human condition. There can be a downside to all of this however: we’ve set so many restrictions for ourselves over the years fashion-wise. For example, by enforcing ridiculous rules such as having to wear a smart jacket to an exclusive restaurant, or a woman being expected to wear heels to work in order to look ‘professional’. The good news is that society is slowly changing and evolving as attitudes move forwards; but these issues are still worth holding in mind!

Ultimately, I firmly believe that getting dressed each day should be fun, something to enjoy, it’s a form of self-care. I hope the images of people on my Instagram help celebrate this, whilst also giving a glimpse into life in our wonderful town!

Thank you so much for your time Sue, it’s been a real pleasure as always! Do you have any style tips you’d like to impart for any budding fashionistas in the local vicinity, eager to be featured on your Instagram page?

Yes of course, here are my style essentials:

• Always be comfortable in what you wear and don’t forget to own it, self-confidence can make or break an outfit!

• Don’t be afraid to mix things up – a touch of disordered messy fashion is always good!

• Forget trends and what the media says you should wear – make up your own rules fashion-wise and just go with it!

• Lastly my Instagram says it’s celebrating the style of the over-forties in Hastings and St Leonards – I’d like to take this opportunity to say that you’re never too young or too old for fashion, so go out there and make it your own!

• Please refer to Sue Tilley’s official Instagram page @stleonardsandhastingsfashions for all the latest updates on her one-woman fashion crusade!

Intrigued by Hastings’ reputation as a burgeoning hotbed of independent creative talent, Lees acquired a new abode and accompanying workshop-come-gallery in St Leonards. Keen to promote his longstanding fascination with the natural world and to further explore his place within this, BakiiBak (pronounced ‘Back two Back’) has become a literal conduit for Lees, a multimedia gallery and arts space which he currently oversees alongside his day job as a property developer.

Ancient Rock Art Formations by Benjamin Sean Lees

Inspired by the delicate intricacies and innate nuances of nature from an early age, Lees works in resin and paint to create a series of genre-defying visuals, all of which are underpinned by vivid notions of tribal aesthetics, coupled with a beguiling sense of immortality. Working on a micro scale, Lees’ paintings explore the often overlooked beauty of the global ecosystem – from the minute fragility of a plant cell to the alienesque qualities of bacteria and the cruel inevitability of decay. 

Elaborating on his own personal practice as an artist and new role as a gallery owner, Lees’ ethos for BakiiBak is refreshingly direct:  

“I want the gallery to be somewhere where artists can experiment whilst also engaging with the viewer within a rich sensory framework. It’s really important to me that the art on show is accessible to all, with opportunities for everyone within the wider community to get involved. It’s going to be a wholly inclusive venture, something which is multifaceted and operates on a not-for-profit basis.”

Forthcoming highlights of the gallery programme will include: a variety of workshops, sculptural installation, life drawing sessions and even a siphon coffee club, where the aforementioned beverage is produced via a bespoke vacuum-style contraption, reminiscent of a mad professor’s laboratory set – surely a must for even the most seasoned of coffee aficionados!

Opening Exhibition

The aptly titled Stutter (opening on the 29th August, until the 1st of September 2020) will be the first exhibition at BakiiBak, providing a much-needed platform for six MA painting graduates from The Royal College of Art, London. The show will be a direct response to the disruption caused by the ongoing pandemic and the devastating effect this has subsequently had on the education sector and, perhaps most notably, the Arts.

With the students’ highly anticipated graduation show cancelled in favour of a virtual equivalent, Lees has given the upcoming artists the chance to showcase their work within a collaborative physical format, one which seeks to unpick and disseminate some of the destruction imposed by Covid-19 and the associated restrictions placed on previously normative interactions.

Plant Cell III by Benjamin Sean Lees

The show will feature a bold selection of truly striking, superlative works, all of which have been nurtured and produced within the midst of one of the most anomalous crises of recent times.

Stutter looks set to be a suitably reflective and much needed introductory show for BakiiBak, whilst additionally supporting emerging artists on the very precipice of a new reality, post lockdown, within the creative sector.

Looking Forward

Future exhibitions still to be confirmed include a collaborative project with the sound/music collective, Lophelia, who will be using the vital themes of climate and environment as a focal point for aural transmission, whilst also inviting visual artists to add their own interpretation of the latter to the resulting gallery show.

The gleefully idiosyncratic artist Andrew Rickett will be exhibiting at BakiiBak at a date to be confirmed, during autumn 2020. Rickett’s show Lyfe will see him use yeast and organic matter to build new worlds and mythological deities within a scientific theoretical format.

With so much planned for the weeks and months ahead, as we leave the hazy days of summer for the glacial climes of winter and the unfortunate possibility of a second wave of the pandemic, Lees is keen to emphasise BakiiBak’s commitment to being a Covid-19-secure public space, with hand sanitiser and various relevant protective measures already being put in place.

All visitors are kindly advised to wear facemasks when inside the gallery and whilst booking a ticket for any forthcoming show or event isn’t mandatory, it is encouraged, in order to help the venue adhere to social distancing guidelines as required.

When asked about his thoughts on BakiiBak going forwards, Lees is characteristically eloquent and brimming with an infectious sense of enthusiasm:

“Ultimately I hope to bring something different to the local area – I want to link the sciences through immersive art experience, one which can be embraced in all its many forms… please come and visit us soon!”

• Please refer to the BakiiBak website for further information on Benjamin Sean Lees’ work and for details of all forthcoming exhibitions and events www.bakiibak.com

After a quick socially-distanced greeting, gallery owner Lucy welcomed me in to the show, whilst bestowing copious amounts of hand sanitiser on
to my outstretched palms and enlightening me on all of the necessary safety requirements, such as a one way viewing system, around the gallery. 

Patti Smith, New York, 1988
PICTURE: Andrew Catlin

Lucy had also kindly invited one of the key contributing photographers – Syd Shelton – along for my visit, to provide an added insight into his phenomenal body of work. Syd’s vibrant images serve as a visual documentation of his involvement, as an activist and artist, in the Rock against Racism movement of the late seventies and early eighties.

His unique visual output conveys a decidedly intimate sense of youthful rebellion, along with the ongoing struggle for racial equality, for which music and one’s individual style was a much needed conduit.

Syd describes his involvement in this key point in British history as “A profound political act, one which was the product of genuine grassroots activism and a personal desire for wider cultural and societal change”.

Shelton’s image Anti-racist Skins features two skinhead youths and was shot in Hackney, London, in 1979. Its stripped back aesthetics and raw, unflinching depiction of  two anonymous young men, staring sideways-on in quiet defiance,  is one of the highlights of the show.

Anti-racist Skins, Hackney 1979
PICTURE: Syd Shelton

Jill Furmanovsky is one of the most renowned female photographers on the rock and alternative music scene. Her candid profile shot of a now sadly deceased Amy Winehouse is profoundly moving, and provides a direct contrast to her more animated photo of Joe Strummer, from The Clash, taken mid-way through a live show.

The carefully selected images of photographer, artist and filmmaker Andrew Catlin, suggest a deep sense of connection and sensitivity for his iconic subjects. This is epitomised in his photo of Patti Smith, which was taken in New York, in 1988. Catlin notes how the shoot had been unexpectedly disrupted by the unfortunate news that Patti Smith’s friend, photographer Robert Mapplethorpe, had been rushed to hospital. The image as featured in Days of Rock was taken shortly before Smith left her apartment to visit him and shows her in a disarmingly pensive state of vulnerability, one quite at odds with her usual, more self-possessed public persona.

Additional photographers featured in the show include: Colin Jones, Geoff MacCormack, Kevin Cummins, Terry Pastor, Gered Mankowitz, Brian Duffy, and Andrew Whittuck, all of whom give a tantalising behind-the-scenes glimpse into the lives of some of the most influential artists of all time.

Paul Simonon, Rock Against Racism Carnival, 1978
PICTURE: Syd Shelton

From the rarely seen black and white shots of a flamboyantly coiffured Jimi Hendrix and The Experience – as taken by Gered Mankowitz – to the unexpectedly meditative photo of David Bowie, asleep on the Trans-Siberian Express, in 1973 (shot by long term friend of Bowie Geoff MacCormack), Days of Rock is a truly lovingly curated show and is an absolute must for fans of musical counterculture.

It’s worth noting that one of the greatest casualties of the pandemic at present is the live music scene, and whilst no-one knows when or how this will return in the future, Days of Rock provides a wonderfully vicarious alternative for the long, hot summer ahead.

• Days of Rock runs from the 3rd July – 29th August 2020. Further details about the exhibition can be found via the gallery website: www.lucy-bell.com

PICTURE: The Dirty Old Gallery

Frustrated by the inevitable restrictions of lockdown and the rather trying task of home schooling, this artistic brief, as set by The Dirty Old Gallery, felt like a welcome diversion for  my son Joey and I. Together we discussed and researched a myriad of magnificent, but now sadly extinct marvels of the natural world. Equipped with all the necessary materials, my very own artist in residence – Joey – made two pieces for the show: a 3D model of a sabre-tooth tiger and a delightfully tactile woolly mammoth mask.

To see his work go on to be exhibited alongside established artists such as Peter Quinnell and Nathan James Page Illustration – amongst others – provided a much needed boost, amidst the ravaged landscape of the local creative community. 

The richly coloured paintings, etchings and merry cluster of dinosaur models on display, lent a celebratory tone which coincided with one’s joy at being able to once again experience such creative endeavours in person. However, on reflection the overarching theme of the show has far more sombre connotations, given the ongoing climate crisis and the very real plight of our glorious wildlife. With this in mind, The Dirty Old Gallery will be donating all money raised from the exhibition to The Bexhill & Hastings Wildlife Rescue and Sanctuary who, like so many in the charity sector, have been under immense financial pressure during the last few months of the pandemic.

This marks the second year running the gallery has put on such a show, having previously raised £1,500 pounds for The Barby Keel Animal Sanctuary, for which artists were asked to create a series of feline-inspired artworks.

Co-owner of the gallery Megan Donfrancesco Reddy explained how overwhelmed she’s been by the response to this year’s creative call-out:

“It’s just such a lovely gesture to take the time to make a piece of work and donate it to the gallery…we feel super-honoured and so grateful – to all of our artists – thank you! We really hope visitors to the The Dirty Old Gallery will enjoy the show too and feel reassured by all of the safety measures we’ve been working so hard to put in place, prior to re-opening.”

Indeed it feels that if the ongoing pandemic has highlighted anything, it’s the enduring need to come together, whilst also supporting our communities and the wider, yet indelibly fragile world around us. The Extinct Animal Show is a wonderful visual embodiment of such essential actions and is a thoughtful exploration of our existence, both past and present.

As my jubilant son Joey enthusiastically surmised, having contributed to his very first professional art exhibition “Make sure you catch this truly roar-some show today!”

• The Extinct Animal Show opened on the 2nd July and is running until the
26th July 2020. Please refer to the gallery website for further details:
www.thedirtyoldgallery.com

The Hastings Arts Forum was, like so many galleries, sadly forced to close its doors during the recent lockdown. In addition to the latter, the Arts Forum was also put in the unenviable position, of having to negotiate with their landlord, who wanted to sell part of the venue imminently.

After much discussion, various terms were eventually agreed and the gallery is now due to open again on the 30th June, utilising the smaller secondary exhibition space of their original premises.

The Hastings Arts Forum’s newly revised shop front
PICTURE: Ian O’Leary

Such issues, combined with the ongoing health crisis, would have perhaps signaled the demise of the majority of community organisations. However the Arts Forum is determined to use recent events in an optimistic and productive manner, as it continues to move tentatively forwards into the weeks and months to come.

I met up with gallery trustee, Ian O’Leary, for a socially-distanced walk along Hastings’ seafront, and he kindly elaborated on the gallery’s plans for reopening. “We intend to carry on surviving as best we can… I think we need to use this time for reflection and consolidation, whilst also trying to maintain a positive outlook for the future. Hastings Arts Forum wants to remain a friendly and open arts space, one which is accessible to everyone in our local community.”

The Hastings Arts Forum is entirely self-funded, relying heavily on its dedicated body of volunteers, as well as the generous support of its members and the general public. The gallery first opened in 2003 and has faced numerous challenges over the years, but has continued to overcome such difficulties and contribute to Hastings’ flourishing arts scene.

Ian O’Leary fully acknowledges the inevitable complications of adhering to social distancing guidelines, whilst assuring me that the safety of all staff and visitors is of the utmost priority, with various procedures being put in place, such as only allowing restricted numbers of people in the gallery at any one time, a continuous provision of hand sanitiser as needed, limiting all monetary transactions to card only, and cancelling any exhibition open evenings until further notice.

A view from inside The Hastings Arts Forum,with necessary social distancing measures in place
PICTURE: Ian O’Leary

Alongside such essential regulatory measures, the team at the Arts Forum have been working tirelessly behind the scenes, revising the original calendar of events to ensure a varied and exciting programme of exhibitions, over the course of the summer and beyond.

The gallery opens with the show Short Notice (running from 30th June – 12th July 2020)  which, as its title suggests, gives a wry nod to the chaotic events of the last few months and in a delightfully personal touch, features a selection of mixed media work by members of  the Art Forum’s very own exhibition and hanging teams.

The exhibition Changing Spaces (running from 14th July-26th July 2020) offers artists the opportunity to hire a specific area of the gallery, rather than the entirety of it, to showcase their work on a rotating, fortnightly basis. This is one of a number of new innovative formats being introduced at The Hastings Arts Forum, which the team hope will encourage a more inclusive relationship with the gallery and contributing artists, as well as help to promote a more diverse range of work for visitors to enjoy.

Confirmed artists for Changing Spaces include: Samantha Guertin, Peter Clarke, Judith Rowe and Jill Hartman, to name but a few.

Harry Tryphonos’ solo exhibition; Minor Sketches (running from 28th July – 9th August 2020) presents a  series of truly compelling paintings, alongside black and white film shots. Harry’s work is very much defined by the present, conveying an inspired sense of instinctive immediacy and uniquely promethean visual style. 

Myth – A painting by Nancy Sharpe, as featured in the Short Notice Exhibition at HAF
PICTURE: Ian O’Leary

In these challenging and inherently unpredictable times, it’s certainly heartening to see a vital community collective like The Hastings Arts Forum continuing to provide an alternative to the burgeoning challenges of our new normal. It’s an unfortunate reality that the creative sector is often one of the first to suffer in the face of such global adversity, however it’s also one of the most transformational and there can be no other gallery within the vicinity of Hastings which exemplifies this more than The Hastings Arts Forum.

As Ian O’Leary surmised as we made our way past the gallery’s now empty reception area, shortly to part ways and return to the now all too familiar confines of our individual abodes:

“I’m always amazed by the support we get not just from our wonderful members and volunteers, but from many other local people too. Perhaps circumstances aren’t ideal, but we’re looking forward to welcoming many old and new friends  back to our gallery, where we hope they’ll find some  much needed escapism from the troubles of the last few months.”

• Please refer to The Hastings Arts Forum gallery website for further information on future exhibitions and volunteering opportunities: www.hastingsartsforum.co.uk

Tim Riddihough is an artist like no other; he’s a builder of worlds, of grandiose totemic structures, fantastical creatures and mysterious motifs.

I was first introduced to his remarkable work earlier this year, by a friend on the local arts scene here in Hastings. I found myself instantly drawn to the wondrous creations of this truly unique, almost mystical-like individual.

I had very much hoped to visit Tim’s house and studio in Pett Level over the summer, but the unfortunate reality of lockdown has put such plans – for the time being at least – on hold.

So it seemed only right to feature this visionary talent here instead, to bring his work to the fore and give it the attention it deserves.

Welcome to the curious life and times of Mr Tim Riddihough… 

You worked as an RAF fighter pilot, as well as flying for the commercial sector for more than thirty years, before deciding to pursue an alternative career in the Arts. What led you to make such a dramatic change, both professionally and personally? Did you have any interest in art prior to your work in aviation?

I was fixated on aeroplanes and being a pilot from an early age, so didn’t really give much thought to art. My life was all about work then, until marriage and three children changed things considerably. I left the rather cloistered confines of the RAF when I was thirty, and that helped broaden my perspective even more. I first began doing art as a hobby and subsequently started to feel very disillusioned with flying, but had to continue for financial reasons. I finally stopped working in the industry at the age of 51, went through a second divorce and moved to Pett Level in 1990. One day someone saw me sketching on the beach and recommended I try the part-time Art Foundation course, at Hastings College. The course was an absolute revelation for me – I found the freedom and open-endedness of visual art so different to the strict procedures and discipline of aviation.

Byron 3 – ceramic by Tim Riddihough

You work in an impressive array of mediums – from sculpture to collage, painting and ceramics – which do you prefer and can you give an insight into your creative process, as an artist?

I don’t really have any preferences as far as mediums are concerned, what I use generally depends on my mood at the time, the availability of materials – even the weather – I like to keep things varied! I don’t really know how my creative process works – nor do I want to! The whole thing is very elusive and fragile…as soon as you try to grasp or understand it, it can disappear. My ideas seem to bubble up from nowhere – the best things seem to happen when I’m distracted, perhaps only half thinking about the job in hand. Sometimes I may do a series of doodles, forget about them, then come across one I like later on and think ‘Yes I’ll try and make that!’. It’s good to make use of the happy accidents, mishaps and mistakes!

Your work is displayed throughout your house and the surrounding grounds, extending far beyond the confines of your on-site studio, thus creating an almost living embodiment of art. Was this an intentional act on your part, or something which naturally evolved over time?

My house and garden have gradually evolved over the last thirty years – I live alone, so have the luxury of being able to make as much mess as I like! Various objects and things seem to have naturally accumulated over time – I don’t tend to get rid of much! I’m also a keen collector of old, discarded odds and ends: tools, rusty window catches, clocks, skulls, mummified animals, broken chairs…sometimes I re-purpose the latter into something new and strange; it’s all about maintaining a sense of happy chaos! I still do some paintings too and often stick them on the walls, changing them from time to time, as I wish.

Methane – mixed media on paper by Tim Riddihough 

I really admire the diversity of your work, as well as your prolific output as an artist. Who or what influences you creatively and do you think your earlier experiences, for example as a pilot, have helped shape your perspective in any way?

I had an interest in aeroplanes, aerodynamics and streamlined shapes, long before I learned to fly. I started building model aeroplanes as a child, which almost certainly relates to what I’m doing now as an artist – perhaps much more so than my experiences as a pilot. After this, the biggest influences that initially opened my mind to art were the tutors at Hastings College, who were excellent and have certainly had an immense impact on my work since. I find many other artists inspiring too – I’m a huge fan of John Piper, Matisse, Picasso, Miro, George Fullard and Kurt Schwitters – to name but a few. I also really like the imagery of the Science Fiction genre: rockets, robots and aliens have all had a marked effect on my creative output as a whole.

You’ve previously opened up your house to the public as part of Coastal Currents’ Open Studios initiative. How do you think this more intimate means of viewing art, compares to that of a conventional gallery setting? Also, will you still be taking part in any Open Studio events this year, given the ongoing health pandemic and associated social distancing restrictions?

I much prefer Open Studio events to exhibiting in conventional galleries, as I get to meet such interesting people and have had many lively conversations about art, life and the world in general as a result! If there are any Open Studio projects happening this year, I would definitely like to take part in them if possible.

How do you hope people will respond to your art overall and does such acknowledgment make a difference to any of your subsequent work?

Of course I hope people will like my art and enjoy what I do creatively. Perhaps my work won’t be to everyone’s taste, but I make a wide variety of things in different styles and media, so there’s a chance of them liking something! Ultimately though if I make things and nobody likes them, it doesn’t matter to me – my only criteria for a piece is that I enjoy making it and I like it when it’s finished!

Yellow Bird by Tim Riddihough

I appreciate it’s probably difficult to select a singular item from your vast body of work over the years, but do you have anything you’ve made which holds a particular significance for you? What are you currently working on and do you have any interesting projects in mind for the future?

If I had to choose a specific favourite it would be The Silkie – a 6ft tall wooden sculpture made from a much loved chair and plywood. I exhibited it at the Easton Rooms Gallery in Rye about 20 years ago, as well as The Brighton Art Fair. I called it The Silkie because after I’d made it, the back end reminded me of a seal and the Silkie was a Scottish mythical character, who could change from being human on land, to a seal in the sea. Generally the piece I like most is the one I’ve been working on last, I try to improvise and not be too sure of where I’m heading!

• You can find out more about Tim Riddihough’s work via his Facebook page.

I was first introduced to Susan Evans’ work as a performance poet when I attended a Meet the Writer event hosted by Creative Future, as part of The Hastings Storytelling Festival last year.

Susan’s witty repertoire and effervescent style as a performer had myself and the rest of the audience instantly captivated. Her poetry examines the most altruistic of themes – from relationships to redundancy and everything in between. As a person Susan is warm, vibrant and brimming with a unique sense of creative flair for all things word-related.

She has performed at numerous venues and events across the UK, as well as internationally, whilst garnering an assortment of much deserved accolades on her way.

Ladies and gentlemen, allow me to introduce Brighton’s premier wordsmith, Susan Evans…

Susan Evans headlining Megaverse at HUB Festival, at Tiny Rebel in Cardiff
PICTURE: Fran Smith

You identify as a womxn, of mixed Anglo-Indian and Irish heritage, from a working-class background in London. How much has the latter informed your subsequent work as a poet? Do you feel a responsibility to give a voice, via your creative output, to others from similar marginalised socio-economic backgrounds?
I’ve been writing and performing, as a creative outlet, since childhood but I’ve never really thought too much about where I was coming from socially, or who my target audience might be – although I know I had a definite sense of  inequalities whilst growing up. Thinking on it now, I write what I know – my genre is mostly social realism, my process part catharsis, and part protest, with a comedic edge. Where there’s humour there’s hope!

It’s perhaps no coincidence that a fair amount of my work has featured in publications which relate to working class lives.  I also try to perform at more inclusive venues – those aimed at a wider audience, with access for all. I absolutely believe that I have a responsibility to speak my truth, whilst additionally supporting minorities and addressing subjects such as social injustice. Ultimately though my creativity and ‘me’ are one and the same – it’s about balance too – it’s good to write just for fun sometimes!

You grew up in Walthamstow, East London, but have since relocated to Brighton. How do you find the coastal arts scene compared to that of the city, and did your writing change or evolve in any way after you’d moved to your current surroundings?

I moved to Brighton over twenty-five years ago, but still go back to London to visit family and perform at poetry events on a regular basis. My early life was mostly about acting, so I didn’t share my own words, in my own voice, until I went to the School of Art, at the University of Brighton, after being accepted on an unconditional offer. I was a mature student of twenty-five at the time and was the first in my family to go on to higher education.

So I suppose you could say I first began showcasing my performance poetry here on the coastal arts scene! I’ve since been commissioned and involved in various events and have hopefully been able to inspire others too, along the way! As someone who grew up in London, with Anglo-Indian and Irish parentage and working-class roots, I always seem to prefer the diversity of big cities. I stay in Brighton for the sea, it’s where I tend to create, rather than perform.

Performing at Seaford Litfest, at the Crypt Gallery 
PICTURE: Rich Hume

You’ve performed your work at numerous events, perhaps most notably at the highly regarded Bowery Poetry Club in New York. Do you ever get nervous about standing up in front of an audience and performing? What advice would you give to other poets who might be considering taking part in a spoken word performance themselves, but are perhaps feeling anxious about doing so?
Oh yes, I still get nervous before a show – even as a professionally-trained, award-winning performer, with oodles of experience! I often get asked for advice about this, so I’ve actually decided to develop a course which draws on my work and associated anxieties as a performance poet! Pre-performance nerves are completely natural and are to be expected! Everyone, from novice to pro, are likely to have some performance anxiety going on at one time or another. Just try reciting some positive affirmations, practise lots beforehand and you’ll be fine!

Your debut collection of poetry Shift Happens was published earlier this year to much critical acclaim. Writing can often be a notoriously solitary process, quite the opposite of performing your work live. Which do you prefer and why?
Following a few delays, my book Shift Happens was finally released earlier this year, on the 21st of March, to coincide with World Poetry Day. The feedback so far has been wonderful – just amazing! I enjoy both the solitary and also more social aspects of being an artist. I write for page and stage, but mostly for performance – I love being able to share my work with the world and make new connections! I’m usually on a bit of a high after a show, so always look forward to recharging and collecting my thoughts again once I’ve finished. 

As a fellow writer myself, I find your innate passion for your craft to be truly inspiring, can you remember who or what first sparked your interest in poetry? What do you hope others take from your own work as an artist?
Thank you Mia – I always hope that my peers, as well as the audience, feel a connection to my work as that’s what it’s all about!  I remember being drawn to words on billboards, as a small child, we couldn’t afford a car so would walk everywhere and I’d take it all in en route! Rhymes at school, hymns and various forms of music, have all influenced my craft too, as well as some accidental exposure to poetry here and there! The first live inspiration, in terms of performance poetry, happened at the University of Brighton, when I saw the Jamaican dub poet Linton Kwesi Johnson perform at the University’s Sallis Benney Theatre.

I write what I know-my genre is social realism, my process part catharsis and part protest, with a comedic edge

The outbreak of Covid-19 and the resulting lockdown here
in the UK has led to many exhibitions, festivals and events having to be sadly postponed, moved online or even cancelled completely. How has the pandemic and associated social restrictions, affected your work and what are your plans for the coming months, once normality resumes?
The U.K went into lockdown just as Shift Happens was released, so I’ve had to put the live launch and book tour for this on hold for now. I’m really looking forward to resuming plans as soon as it’s safe to do so! Some of my followers have already purchased pre-launch copies of my book online, which is good. In the meantime I’ve been continuing to write and have been working on some new titles too! I very much miss the creative process of being able to sit and write in my favourite cafes – I can’t wait for them to re-open again!

I’ve really enjoyed the daily Haiku posts on your Facebook page and was wondering if you could perhaps write one for The Hastings Independent, to conclude our interview?
Why, thank you and yes of course! Writing haikus has served as a very welcome distraction to the lockdown and daily news. I must offer a disclaimer though – Matsuo Basho I am not – so apologies in advance to any Japanese haiku masters who might be reading this! 

Haiku “Artist Spotlight”

It’s been a pleasure,
Hastings Independent Press.
Keep on keeping on!

• For further information on Susan Evan’s work as a performance artist, please refer to her Facebook page @SusanEvansPoet

Sue Tilley’s made an indelible mark on the local arts scene since relocating to Hastings from London in 2017.

Her eclectic litany of job titles have included: benefits supervisor; till dolly at the notoriously decadent Taboo club in London; exhibited artist; and published author…as well as being a frequent model for a certain Lucian Freud.

However there’s much more to this unique and vivacious soul – in the last couple of years she’s fought and won a battle against breast cancer, all whilst maintaining her infectious ‘can-do attitude’ and effervescent sense of humor.

I caught up with Sue for a chat, about running life modelling classes online during lockdown, gossip sessions with Lucien Freud, thoughts on austerity and more…

Sue Tilley as drawn by Tina Mansuwan from Bangkok

You used to work as a cashier at Leigh Bowery’s infamous Taboo night club in London, which quickly became notorious for its avant-garde and fringe sensibilities. What impact do you think the scene has had on mainstream art and culture today? How do you think Leigh Bowery would feel about this legacy?

I’ve always said if you went to Taboo one of two things happened – either you died or became a great success! Lots of people from ‘the scene’ went onto establish themselves in the arts… the film director John Maybury, fashion designer John Galliano and even the girl band Bananarama – if you’ve heard of them – were all regulars at the club! 

I think the club kids today are probably quite jealous of the fun we had – it was such a different time – our biggest excitement was getting our photo in magazines like The Face or i-D! 

Gender fluidity and being non-binary are considered much more mainstream now. I’m still surprised when people are shocked by it though – why does it matter what people identify with, as long as they’re happy? 

I know Leigh would be proud to be considered such a trail-blazer – he always wanted people to be different and was very interested in challenging perceptions of the human form. 

Sue Tilley as drawn by her 8-year-old nephew, Reynard

You modelled for the artist Lucian Freud on numerous occasions, can you elaborate on what it was like to sit for him? 

How important do you think the relationship between artist and human subject is in the creative process overall?

Lucian was very aware of the relationship between the artist and model – he really felt the model’s physical presence was vital to the overall composition.

I used to really enjoy sitting for him… it was very relaxing as you couldn’t do anything but pose in one position!

He was very keen on gossip and told me some great stories about celebrities such as Joan Collins, Cecil Beaton, Greta Garbo and Judy Garland!

Lucian had a wonderful sense of humour and would often make me laugh. He was a good cook too and would make me lunch or take me out somewhere fancy to eat, which I loved!

Alongside your work with Lucian Freud and colorful experiences at Taboo, you also used to work as a benefits supervisor, in Charing Cross. How did you find navigating such opposing realities and do you have any views on the recent spate of austerity cuts within the benefits sector, perhaps most notably to the arts?

I really like all the contrasting threads in my life, as I feel that they’ve given me a good, balanced view of things! 

Working at Charing Cross wasn’t too bad, however I found the last few years of my career at DWP very depressing. I’d often end up crying with the customers, as their situations seemed so hopeless. I was thrilled when I was offered redundancy, as it meant I could finally get out! 

I think the cuts to the arts have been terrible, but we also need to prioritise the NHS, charities and similar services for those who need it most – especially now with the current health crisis.

You moved to St Leonards in 2017 after many years in London and shortly after, you were diagnosed with breast cancer, from which you’ve since thankfully recovered. Did your background in the arts play any part in helping you through such dramatic life events?

I moved to St Leonards on a bit of a whim really – I had no plans to leave London, but decided to after visiting a friend here. I’d been here a few weeks when I met Tom Bartlett from The Sea Spray Gallery, who offered me an exhibition and a studio, which was amazing. 

I discovered I had breast cancer a few months after I moved here. The staff at Carisbrooke Surgery, The Conquest and Maidstone Hospital were just amazing… so supportive and kind. I’m not sure if my background in the arts helped me through, although I think a positive attitude probably did. I try not to worry about things and just focus on making the most of every day. 

I’m a huge fan of your virtual life drawing classes, which you’ve been running via Isolation Station for the duration of the current lockdown. What sort of response have you had from the community and what does it mean to you personally, to be able to help facilitate such a creative outlet for others?

I absolutely love running classes and used to hold them at The Fountain Pub, where my friend Wayne Shires is the landlord, prior to the lockdown. I was thrilled when Isolation Station, Hastings asked me to hold them online instead.

I modelled for the first one, but we’ve had other people modelling from home too – I had my friend from Lisbon this week so we’ve gone international now! Anyone can join in and we’ve had people from all over the world signing up to take part, as well as our regulars. People can send their sketches in at the end and we have a gallery on Facebook too, which is very popular.

Next week I’ve got London nightclub and fashion legend, Princess Julia modelling. We’ve been friends for over thirty years, so there should be some good chat and she’ll be brilliant to draw!

I also do a weekly online quiz via Isolation Station, which I used to run on a regular basis at The Cactus Hound. I love writing the questions and they often represent my own interest in modern culture and art.

From Sue Tilley’s art class at the Fountain Pub, Hastings

Why does it matter what people identify with, as long as they’re happy?

Having sat for one of the most highly regarded artists of the last century, which famous painting would you most like to feature in and why?

I’d have loved to have sat for any painting by Matisse – apparently he had a wardrobe of clothes for his models to dress up in! I actually told Lucian he should have one but he wasn’t too keen on the idea – he preferred his models nude! I often set up the models and backdrop for my art classes in the style of Matisse – lots of bright colours and flowers. 

You’ve worn (and modelled!) many hats throughout the years, what’s next for Sue Tilley?

Who knows… I never really plan anything… opportunities just seem to come my way!

I have got one exciting thing in the pipeline, but I can’t really talk about it at the moment! I’m sure the world will be a different place once all of this is over, so we’ll have to just wait and see what happens won’t we?

• You can find out more about Sue Tilley’s online life drawing sessions and quiz session’s @isolation.station.hastings on Facebook.

Hastings-based artist, Peter Quinnell is, as his website so rightly suggests: ‘The original and best’. His prolific series of collage and 3D assemblages are characterised by a zany sense of the surreal, whilst gleefully exhibiting a healthy disdain for the absurdity of everyday life.

Quinnell’s dynamic visuals have featured in a diverse range of campaigns, for clients such as Channel 4, i-D magazine, The Financial Times and many more. However Peter’s creative skills extend far beyond his work as a solo artist, as he continues to maintain a major presence within the local arts scene and various community projects.

Keen to know more, I conducted a socially-distanced interview via my trusty laptop, with Hastings’ very own enfant terrible, Peter Quinnell…

Peter Quinnell posing with vegan pig ears

You’ve been working as an artist for more than thirty years; did you always envision a career in the Arts and how has the direction of your creative output evolved during this time? 

I used to like the idea of being a surgeon or hairdresser when I was very young, but art quickly became my main focus. My family had a blacksmithing business and my mother actively discouraged me from pursuing this as a career! I first realised I wanted to work in illustration and graphic design, when my dad gave me a book of record sleeve designs by Roger Dean. I went to art school in 1982 and have been working in art and design ever since! 

I began collaborating with another artist, Magda Archer, while studying at The Chelsea School of Art. We worked on our MA together and went on to work successfully under the name Archer/Quinnell for the next ten years, before eventually going our separate ways. I’ve worked on around 1,000 illustrative commissions throughout my career, although this side of my work has started to diminish now – partly because of the reduction in print and partly because the market likes fresh, new talent! 

I continue to work on my illustration and personal art projects whilst teaching at Sussex Coast College, here in Hastings. I‘m also involved
in a number of community art projects, along with some freelance and educational work. 

Graphic design will save the world right after  rock and roll does

Your work in collage and assembly-based visuals makes frequent reference to pop culture and the cult of celebrity, whilst also exploring more socio-political themes. How important is art in helping to instigate wider debate around politics and the need for change within our society? 

Hmmm I’m not sure… music, art, illustration and particularly satirical cartoons are often political in theme, although I’m not sure how much of an effect this has on society overall… I think the American graphic design artist David Carson perhaps sums this up best, “Graphic design will save the world right after rock and roll does”. 

I’ve had the pleasure of visiting your wonderfully eclectic studio in Rock-a-Nore… how long have you been working there and how has the area changed (from an arts perspective) during this time? 

My partner Claire Fletcher and I bought the studio twelve years ago. Hastings was already full of artists and musicians when we arrived, some from London, but many were natives too. Hastings and St. Leonards – like so many coastal towns – have continued to attract artistic types, there’s a really diverse arts and music scene here, with lots of great stuff happening on a daily basis! 

‘Super Safe’ – For a bus shelter poster (Which may still be up in Havelock Road, for Love Hastings!) by Peter Quinnell

You’re involved in a number of organisations and programmes within the community, alongside your work as a solo artist. What role do you think art can play in these times of uncertainty, to help reconnect and support people from both an individual and more collective perspective? 

Visual art, music, dance, writing, film and associated creativity, can really make a difference to people’s happiness and general wellbeing. However this is something which continues to be overlooked, particularly in the educational sector.

It’s worth pointing out that creative industries contribute a substantial amount to the U.K economy and employ people from all walks of life. Art has the ability to make such a difference to us all – perhaps now more than ever – it’s incredibly important.

‘Sgt East Enders’– A homage to Peter Blake for Radio Times by Peter Quinnell

What projects do you have coming up in the months ahead and how are these likely to be affected by the current public health pandemic? For example, some artists have been using social media as an alternative means of showcasing their work online; do you think Covid-19 could inadvertently change how we interact with art, in the years to come? 

I’ve been working on Gail Borrow’s excellent ‘A Town Explores a Book’ project, some of which will have to be postponed for the time being, or re-envisioned online instead. Some of the work I was due to be involved in, such as the art break sessions at Project ArtWorks this Easter, has sadly been cancelled altogether. 

I’m still teaching at Sussex Coast College via online tutorials, which is going well, but it’s far from ideal. Local galleries and independent shops are obviously closed now too. This is going to be a major blow to the finances of the owners, artists and makers.

Several Hastings artists are offering free art activities online during the lockdown – which is great – this may catch on and continue when we recover, but I think the shared experience of creating something as a group is hard to beat.

Selling art online works for some people, but not everyone. The illustration business is still up and running – my agent is still working – but the uncertainty and financial retraction are already having a negative effect on commissioned work. 

Everyone is hoping things will pick up and recover soon – I’ve been through a few recessions and financial crises in my time, the effects of which can be hard, but not insurmountable. I don’t know how this will affect the creative industries in the long term – we’ll just have to wait and see… 

My son Joey is – like so many children across the nation – currently off school for the foreseeable future, he’s sitting next to me as I type and wants to ask a quick question (or two!) of his own… 

J – Hi Peter, how can I keep making art whilst shut indoors and if you could be any animal, what would you be and why? 

Hello, Joey – I’ve been doing a lot of collage at the moment – you can use junk mail, magazines, comics, and food packets – whatever you can find! It’s great because it’s cheap, not too messy and doesn’t take much skill to get started! 

If you’ve got a smart phone, iPad or camera, stop-frame animation can be fun to try – it takes some concentration but is really worth it!

Drawing is always fab – you just need a bit of paper and a pencil or pen – it doesn’t matter how it turns out, just work on what you like best! 

With regards to the animal question, a cat’s life has always looked pretty good to me. That or a basking shark – no worries, no responsibilities!

Given the unusual times we’re currently living in, if you had the choice which period of art history would you choose to revisit as an artist? 

I really like the Dada movement and people like Kurt Schwitters – though no-one liked his work at the time! I also like Joseph Beuys, Antoni Tàpies, Robert Rauschenberg, and Peter Blake.

• You can view more of Peter Quinnell’s work via his website www.peterquinnell.com

I first became aware of Izaskun Gonzalez’ sublime and, at times, unsettling body of work a few years ago, whilst living in London. Our paths crossed briefly, after I sought her out to take some promotional images for my work as a performance artist.

So imagine my surprise – and delight – when Izaskun got in touch to say she’d relocated to Hastings and was in the process of opening up her own shop. Gyre and Gimble Interiors is a veritable treasure trove of oddities and antiquities, based in St Leonards. It’s a truly unique space, one which personifies Izaskun’s own visionary and flamboyant flair as an artist.

Join me on a venture into the creative abyss, as I talk to Izaskun Gonzalez about her work as a female artist and business owner, in these most unprecedented of times… 

Could you give our readers an insight into your background and overarching creative philosophy as an artist?

I’m a multidisciplinary artist; I work with fabrics to make masks and create spaces, which I then photograph. My images are sort of like a mathematical equation resolved… when my brain is happy, I move onto the next equation.

Your work is highly stylized and yet manages to remain visually elusive thematically – who or what inspires you?

I draw inspiration from many  different things…tribal masks, Victorian style, Mexican iconography, the circus, performance art, b-movies , 1950’s cinema – just art in general and everything around me!

You moved from London to Hastings a couple of years ago, has the change in locality influenced your work in any way?

Yes, I think it’s definitely influenced me creatively, I’ve always been very perceptive and sensitive to change and my surroundings as an artist.

Your amazing shop Gyre and Gimble Interiors recently opened in St Leonards. Can you outline your vision for the shop as a creative enterprise and what customers can expect when visiting?

Gyre and Gimble is a collaborative project between my partner, Toby Coe (who also has a background in the arts scene) and I. It’s an antique and interiors shop, where we sell pieces we find on our travels. Toby and I have a shared vision: to design interiors and then make them happen! So the concept of Gyre and Gimble is perfect for us – it enables us to indulge and in turn, extend our passion to the wider community.

The shop is based in a Victorian property, on London Road in St Leonards and we’ve worked hard to renovate it, whilst also maintaining some of its original features, such as the Victorian kitchen, in the basement.

The coming weeks are going to be especially hard for the local arts scene, as well as personal business ventures such as Gyre and Gimble Interiors. How do you think we can innovate and support the latter as a community?

We have to be as creative as possible and try to find unique ways to help local businesses. It’s very difficult to expect people to buy from us in the current situation, so we’re thinking of how to go forwards from here…for example we’ve been putting small packs of handmade pottery and other pretty objects together, so people can contribute by buying these if they wish. We’re a very small family-run business, so any purchases are greatly appreciated. You can find our little ‘help packs’ on our website, as well as further updates in the weeks to come.

You work in an array of media, most notably photography. You’re also a mum and run your own business… what advice do you have for upcoming female artists, who are perhaps yet to find their voice within the wider arts scene?

My advice would be to stay true to yourself. Be kind and nurturing – especially to other women. Feed your mind and also your soul!

Thank you so much for your time Izaskun, please use this space to share/muse/close this interview as you wish…

Thank you for caring and for your interest in local artists and small businesses!

I’d like to thank the people of Hastings and St Leonards for their ongoing support. There are so many wonderful projects and independent businesses here, we must support them so that our town can remain a special place for us all!

It’s important to remember we can all make a difference – perhaps now more than ever. All our actions count…buy local, get involved!

• To view more of Izaskun Gonzalez’s work as an artist please visit her website: www.izaskungonzalez.com

You can find out more about Gyre and Gimble Interiors via the shop website:
www.gyreandgimbleinteriors.com

We’ve all seen the images of refugees, lost at sea in a desperate attempt to escape the economic or political hardships of their homeland. Many of us have been shocked by the distressing accounts of young children who are ruthlessly coerced into running drugs across county lines. Such stories reoccur again and again in the mass media and yet despite this, modern slavery remains a misunderstood and often overlooked crime. Perpetrators prey on the vulnerable and the desperate, exerting a cycle of fear and financial control that can seem impossible to escape from.

Poster designed to raise awareness of modern slavery in the community, by year 7 and 8 students from Bexhill Academy’

I quickly fell in love with Hastings for its glorious seaside proximity and quirky bohemian almost-Brighton-but-less-hipster vibe, after moving down from London two years ago. However, there is a darker reality to this burgeoning coastal town, one rife with poverty and all the hardship this inevitably evokes. After volunteering at a local soup kitchen in Hastings town centre, it became apparent that the issue of modern slavery is very much a part of day-to-day life here, with the vulnerable and financially burdened being most at risk. It would be naïve to suggest that this crime doesn’t exist in London, but Hastings’ geographical locality to Dover, coupled with some of the highest levels of deprivation in the UK, seems to render it especially vulnerable to this kind of exploitation.

Local action 

Keen to understand this vital issue in more depth, I got in contact with Laurie Church, a Modern Slavery Community Coordinator for the non-profit organisation Stop the Traffik. The charity aims to raise awareness and systematically disrupt human trafficking from within the community. Dedicated to the cause and highly knowledgeable, Laurie explained her role to me in more detail: “I’m in charge of integrating various, relevant groups to address the issue of modern slavery. Our overarching aim is to enhance public awareness on the ground, within a global context, as well as building up resilience in local communities. I believe everyone has a part to play in helping to break the cycle of this devastating crime.”

Stop the Traffik also operates as a part of the multi-agency task force Discovery, based in Hastings. Discovery aims to safeguard and prioritise the needs of those affected by modern slavery, in all its many forms. Laurie invited me to meet some of the members of the Discovery team to see how they work first hand. Police Officers Amanda Snashall, Mark Charlton and Les Golding work as part of the Police Intelligence branch at Discovery. Enthusiastic to talk to me, DC Amanda Snashall summarised the group’s role: “We’re here to investigate any intelligence sent in by members of the public, or anyone concerned about a potential victim of modern slavery. We investigate all relevant leads and build up a case, with the aim of pursuing the offenders and assisting their victims. By working alongside a variety of other governmental and non-governmental bodies, such as the Department for Work and Pensions and The Salvation Army, we can help advocate and give advice from a legal perspective.”

Be aware… If you go to a car wash and there are five people cleaning your car, there’s a good chance they’re not being paid minimum wage

Snashall went on to explain how modern slavery is a notoriously difficult area to address, with a frustratingly low rate of convictions in the UK: “There’s often a huge amount of shame and lack of awareness on the part of the victims, many of whom may have come to the UK with the promise of a job and a new life, only to find themselves working well below minimum wage, in a country they know nothing about. How can they speak up for themselves when their only point of contact is the human trafficker, who has taken away all of their official documents and tells them they’ll be beaten or worse if they try and escape? Discovery seeks to develop a relationship of trust with victims, to build a genuine sense of rapport and empower them to speak out. We always work with the aim of convicting perpetrators, but this isn’t the only way to address things. Sometimes making victims aware of their rights and offering them an alternative escape route out can help escalate the systematic disruption of the framework of organised crime significantly.”

The team told me how the introduction of the Modern Slavery Act 2015, by the then Home Secretary Theresa May, helped formally recognise slavery for the first time in the UK. May’s bill solidified a number of acts under one banner and, perhaps most crucially, acknowledged victims and their right to a defence, instead of simply prosecuting them for any offences committed, whilst under exploitation. It’s widely conceded that the act is far from perfect, but it’s certainly helped bring this imperative issue to the fore, both socially and politically. The bill has also enabled professionals to quantify modern slavery, within a legally recognised context.

Work to be done

However, Laurie and her colleagues remain very much aware of the monumental amount of work that still needs to be done: “People are one of the biggest commodities after the drugs trade. It’s highly profitable and can be incredibly hard to regulate, especially given advances in technology online. We’ve had cases where women from China have been groomed via the internet into coming to the UK, only to then be forced into prostitution upon their arrival. Victims of modern slavery can be young or old, of any gender, sexual orientation or cultural background – the traffickers don’t discriminate. By working as part of a collective, we can help address the needs of the victims from a multi-dimensional approach, but we have to be realistic too; sometimes simply ‘saving’ someone isn’t the answer, no matter how much we’d like it to be. We remain hopeful though. The UK is at the forefront of tackling modern slavery, amongst the top five countries worldwide and it’s our duty to build on this accordingly for the future.”

I concluded my visit to Discovery HQ by asking what the public can do, if they think someone’s being used for slave labour. How can we make a difference and stand up to the abhorrent slave masters facilitating this? Laurie was quick to respond with: “Be aware. Don’t be afraid to ask questions. If you go to a car wash and there are five people cleaning your car, there’s a good chance they’re not being paid minimum wage. Observe things and go with your gut instinct. Sometimes the smallest piece of intelligence can make all the difference to one of our case investigations. Everyone and anyone can help – it’s a crime that’s happening right now, in your street, your neighbourhood. It’s happening in plain sight and must be challenged.”

• Hastings Independent would like to thank Natalie Williams, Laurie Church and the Discovery team for their assistance with this article.
• If you think someone is a victim of human trafficking and modern slavery you can call the Modern Slavery Helpline confidentially on 08000 121 700.

This vital service has recently come under threat because the kitchen at Wellington Square Baptist Church is in desperate need of refurbishment. As the church is a listed building, costs are high and it is estimated that £30,000 will have to be raised in order for Hope Kitchen, Street Pastors and the other groups who also use this space to continue operating.

Now the Darvell Bruderhof Community have generously pledged to donate £15,000 towards the refurbishment so desperately needed to ensure Hope Kitchen can continue to offer its services to those who need it most. The Bruderhof are based in Robertsbridge, East Sussex, with an additional community in Kent. Members live without private property, sharing everything, as practised by the first church in Jerusalem. Members of the community have been volunteering at Hope Kitchen on a weekly basis since 2010 as well as offering financial grants and support where possible. 

Hannah Horning from the community in Robertsbridge has been volunteering for Hope Kitchen for many years and loves working there. She explains: “Homelessness is a significant problem in Hastings, and multiple agencies are concerned and working hard to help those affected. The work Hope Kitchen does is very important, and it’s great to be part of an effort like this.” 

Hope Kitchen’s practical work is a wider expression of an overarching Christian ethos: to make a genuine difference to those living with the harsh reality of addiction, homelessness and loneliness. They provide a much-needed space to anyone who needs it, regardless of faith or denomination. Hope Kitchen is also able to signpost guests to other relevant agencies for additional support within the local community should they need it.

Mike Cooper, Chair of Trustees at Hope Kitchen, explains: “We’re so honoured to be able to work with other agencies, churches, and community groups around the local area to improve the lives of our guests.”

Talking about their collaboration with the Bruderhof Community, he says: “They’ve worked with us for ten years now and are so supportive of our cause, both financially and practically. Raising £30,000 for Wellington Square Church is a big task, but with this generous gift from the Bruderhof we’re one step closer.” 

He hopes the community will get behind this project to ensure that Hope Kitchen can continue to serve the community of Hastings and St Leonards for many years to come. The Bruderhof will be matching all donations made until they hit the target, so giving now will double the value of your gift. 

• To donate to Hope Kitchen visit the Hope Kitchen JustGiving page

• To find out more about Hope Kitchen and how to get involved visit
hopekitchenhastings.org.uk

• For more information on the Darvell Bruderhof Community
visit bruderhof.com

Twelve artists (including Can and Azuma), from a variety of backgrounds and creative disciplines, presented a plethora  of  varied and unquestionably zany artistic creations, as oversized cutout human ears sat alongside sculptural canines with flashing light bulbs for noses.

Heavy Feathers by Tim Can

Guests were able to strum on instruments forcibly attached to chairs, whilst admiring re-rendered car wing mirrors, carefully positioned alongside elegant, oriental style lamps. A clock face, emblazoned with the image of a tomato, was but one of many curious, yet reassuringly familiar items on display.

Perhaps my favourite work on show was  Soldier by Tim Riddihough, a sculptor renowned for his prodigious and often abstract constructions. A strategically positioned helmet instantaneously set the context of Riddihough’s expressive design, whilst additional items such as a  computer motherboard, imposing wooden framework and phallically placed bathroom tap, remained hauntingly redolent.

Soldier by Tim Riddihough

Another standout design piece was A Great British Tradition by mosaic artist Emma Harding, who presented a gleefully sardonic take on imperialism and empire. Harding’s meticulously handcrafted table, complete with a series of  rather formal looking tea cups carefully positioned on top, seemed to exemplify the overwhelmingly surreal tone of the rest of the show.

In-house artists Tim Can and Fumico Azuma are keen to emphasise the need for art to be ‘Accessible to all, completely free from any notions of 
pretence’ and thus devoid of the usual constraints of a more mainstream, dare I say superficial arts scene. Their disarmingly open philosophy is certainly embodied in the rich assortment of work  featured in Functional Dysfunctional. The gallery is free to visit and the aim to engage one and all in the arts is truly admirable .

What Zuzushii lacks in terms of literal exhibition space, it more than makes up for with its eclectic series of ongoing exhibitions and events. Functional Dysfunctional continues to  maintain the latter, whilst also upholding the  socially conscious ethos of previous shows held at the gallery. 

Slapstick by Jim Roseveare

The Zuzushii Arts Laboratory is a treasure trove of mixed media deities and injects a much needed sense of anarchic defiance into the local arts scene. So take a break from the mono-tony of reality and step inside the unique world of  Zuzushii Arts Laboratory, today!

• Functional Dysfunctional runs until 7th March 2020

• Zuzushii Art Laboratory Zuzushii is 26, White Rock, Hastings . For more
information on future events visit www.zuzushiiartlaboratory.com

Multimedia artist Zadie Xa explores Korean myths and notions of cultural heritage in her awe-inspiring show: Child of Magohalmi and the Echoes of Creation. The exhibition is sparsely conveyed and purposefully lit, to create a rich sense of immersion throughout. Xa’s quietly meditative body of work pays homage to the Korean goddess Grandmother Mago, an all-powerful creator of land and water in Korean folklore.

The evocation of Grandmother Mago is intertwined with that of Granny, an orca whale that lived in The North Pacific Ocean, thought to be 106 years old when she passed away in 2016.

Xa explores the shared commonality of these two omnipotent figures and their status as matriarchs within the social constructs of the natural world. The artist imagines that Granny the orca’s use of echolocation is actually a reverberation of the cosmic music that gave birth to Grandmother Mago.

Dramatic soundscapes, the moving image and flowing performance costumes channel this fantastical narrative in a way which is both haunting and compelling. Xa’s work gives a voice to the disparate and the marginalised, as both Grandmother Mago and Granny the orca are threatened by the cruel inevitability of human evolution.

Visitors to the exhibition are able to wander freely amongst various deconstructed costume pieces, emblazoned with shamanic motifs from Korean folklore. Futuristic masks hang alongside the latter, creating a genuine sense of physical interaction, between the artist and the observer.

The focal point of the show is a short film, shown on loop in a down-lit room, littered with glowing, sculptural seashells. An oversized orca is positioned in front of the screen, allowing viewers to recline within the oceanic setting. The film, also titled Child of Magohalmi and the Echoes of Creation, seeks to encapsulate key themes of matriarchy and intergenerational notions of identity.

The concluding section of the show features purposefully-placed orcas, rising up from the gallery floor, mere feet away from the seafront outside. A large oil painting, Child of Magohalmi – one of many paintings throughout the exhibition – includes seashells collected from beaches in Vancouver, close to where Xa grew up, and where Granny the orca resided, sewn into the textile frame. This surmises the multifarious tone of this visionary show, one which invites us to contemplate the dual fragility of ancestral traditions and the biosphere we inhabit.

• Zadie Xa: Child of Magohalmi and The Echoes of Creation is running from the 1st February-4th May 2020.

Earthly Delites
Acclaimed Irish artist Anne Ryan leads The Hastings Contemporary’s winter programme of events for 2020. Her headlining show Earthly Delites is a playful subversion of Hieronymus Bosch’s The Garden of Earthly Delights. Inspired by Bosch’s use of space within the canvas and keen eye for detail, Ryan has drawn on her many years as a practising artist and teacher to create a vibrant series of 3D cutouts.

Anne Ryan, 5 women in the woods and one swimming, 2019,
acrylic on card cutout, 51×63 cm

Working in a variety of media – from card and collage to metal – Ryan’s show is wholly immersive, a vivid assault of colour, shapes and contours. The cutouts are purposefully positioned on tables to allow visitors to actively engage with the pagan-like deities. Ryan speaks passionately about the need to ‘let go’ as an artist, to embrace the imperfect. The latter is certainly evident in Earthly Delites and that is perhaps the key to its subversive and gloriously anarchic charm.

The abstract figures on display reflect the artist’s numerous influences: from classical figurative painting and sculpture, to modern day counter-culture. By eschewing the more formative processes of exhibiting in 2D, Ryan blurs the line between the real and the imaginary, the then and now. Her medley of intertwined figures and shapes evoke a refreshingly unrefined vision of physicality and mirth. Indeed, this is not an exhibition for the faint hearted: its exuberant mix of headless shapes and sensual curves demands attention!

Born in Limerick, Ireland, Ryan has enjoyed an esteemed career in the arts to date and was Abbey Fellow in Painting at The British School in Rome in 2016. Her intuitive use of colour and her ability to re-purpose encapsulates The Hasting Contemporary’s rapidly evolving ethos: to champion a broad array of artists and styles, from those residing at the fringes of the 21st century arts scene, to established masters of the past.

Edward Burra (1905-1976), War in the Sun, 1938, watercolour on paper
PICTURE: Lefevre Fine Art Ltd

The Age of Turmoil 

The Age of Turmoil features the work of three 20th century British artists; Edward Burra (1905-1976), Stanley Spencer (1891-1959) and Graham Sutherland (1903-1980). The show is decidedly sombre in tone and serves as a marked contrast to Ryan’s joyful cacophony of souls in the adjacent exhibition space. The paintings on display are dark, unsettling and highly stylised – a direct reflection of each artist’s personal experiences of war. Spencer and Sutherland both served in World War II as official war artists, whilst Burra, stricken with debilitating rheumatoid arthritis for many years, observed the horrors of war from a different perspective, as his hometown of Rye became a centre of military activity. The Age of Turmoil conveys a rich body of work, one which explores notions of human suffering from both historical and decidedly personal points of view. Burra’s work is especially moving, given his physical disability and the literal constraints this would have put on his practice as an artist. His unsettling images have a strong, almost surrealist feel, whilst also conveying the brutal mechanization of war.

• Anne Ryan: Earthly Delites and The Age of Turmoil are running from the 18th January-29th March 2020. The Studio at 4am (curated by Anne Ryan) and Quentin Blake: Airborne are running from 18th January-22nd March 2020. Please refer to the Hastings Contemporary website for further information www.hastingscontemporary.org